The Thing About Life is That One Day You'll Be Dead (6 page)

Superheroes

My cat, Zoomer, is exceedingly centripetal and social. The moment I spread out my papers on the dining room table, he lies on top of them. He greets most visitors by crawling onto their laps. His favorite activity is lying in front of the fire for hours while Laurie, Natalie, and I sit near him, reading. His second favorite activity is to lie between the three of us while we're watching a movie; he eats ice cream from our bowls while we pretend not to notice. At night, he sleeps in the crook of Natalie's neck, his paws wrapped around her forehead. And yet if we indulge him by petting him for too long, he inevitably reacts to this overdomestication by biting or scratching us. Zoomer loves to hide behind a bookcase and swat unsuspecting passersby or lie across the bookcase, one paw hanging in the air, and look out across the room—a lion surveying the savannah, scoping antelope. He wants to convince himself and us that, thoroughly pampered though he is, at heart he's still a killer.

From room to room he drags “his” teddy bear—what Natalie calls his girlfriend—and, despite his supposedly having been fixed years ago, dry-humps it day and night, howling with a conqueror's fury. He'll spend hours scratching the window at his neighborhood nemesis, Fireball, but when presented with the opportunity to confront Fireball nose-to-nose, he always settles, pseudo-disappointedly, for the safety of imprisonment. On the rare occasions when he does go outside, he hisses, terrified, at all provocations and scoots inside on the flimsiest pretext. He needs to convince himself that he's a tough guy, but really, Zoomy's a pussy.

         

In the movie
Spider-Man,
when Peter Parker gets bitten by a spider and begins turning into Spider-Man, Uncle Ben tells him, “You're changing, and that's normal. Just be careful who you change into, okay?” Peter's change from dweeb to spider is explicitly analogous to his transformation from boy to man. Before he becomes Spider-Man, he wears his shirt tucked in—dork style; afterward, he wears his undershirt and shirt hanging out. He can't be contained. Neither can his chest, which is newly ripped, and his eyesight is now 20/20. To Peter, his sexual maturation is the equivalent of stealing fire from the gods: “I feel all this power, but I don't know what it means, or how to control it, or what I'm supposed to do with it even.” Teenage boys want to believe that the sex instinct trumps and transfigures the day-to-day world. One of the amazing things about my father is that he still believed in this transfiguration deep into his 80s.

The first time Spider-Man rescues M.J., she says to her boyfriend, Harry, that it was “incredible.” “What do you mean ‘incredible'?” he keeps asking her. The second time Spider-Man rescues M.J., she asks him, “Do I get to say thank you this time?” and, pulling up his mask past his lips, passionately kisses him, sending both of them into rain-drenched ecstasy. The script makes painfully clear that Peter's newfound prowess is procreation or, more precisely, onanism: “He wiggles his wrist, tries to get the goop to spray out, but it doesn't come.” All three times Spider-Man rescues M.J., they're wrapped in a pose that looks very much like missionary sex: Spider-Man on a mission. As Peter Parker, his peter is parked; as Spider-Man, he gets to have the mythic carnival ride of sex-flight without any of the messy emotional cleanup afterward.

Spider-Man
is about the concomitance of your ordinary self, which is asexual, and your Big Boy self, which is sex-driven. Virtually every male character in the film worries this division. Even the “squirrelly faced” burglar who steals the New York Wrestling Foundation's money, and who later winds up killing Ben in a car-jacking, whispers “Thanks,” then flashes a sweet smile when Peter steps aside so he can get on an elevator. Ferocity and humility are in constant conversation and confusion. (Natalie: “This movie is about how everyone has a covered-up side. People don't always show you the way that they are.”)

         

On a Saturday afternoon a few years ago, at Seattle's Green Lake pool, while I swam laps, my father swam a little, then lifted a few weights, took a sauna, and dozed, which he adamantly denied, as he always does. In the locker room, a 10-year-old kid started humming to himself, at first quite quietly, the
Batman
theme, which my father didn't recognize at first, but when I told him, he nodded. In less than a minute, the tune had made its way through the locker room—about a dozen pubescent boys humming the song. Some sang seriously; others joked around. Some stood on benches; others whapped their towels at one another's asses. Some danced around buck naked; others continued getting dressed. It was surprising and mysterious and confusing and beautiful and ridiculous and thrilling, though not to my father, who finds nearly all manifestations of mass entertainment—with the important exception of sports—appalling. “Popular culture,” as he explained to me in the car on the way home, “is not real community. It's
substitute
community.”

At the end of Ann Beattie's story “The Burning House,” a husband and wife who are separating finally confront each other. She speaks first.

“I want to know if you're coming or going.”

He takes a deep breath, lets it out, continues to lie very still.

“Everything you've done is commendable,” he says. “You did the right thing to go back to school. You tried to do the right thing by finding a normal friend like Marilyn. But your whole life you've made one mistake: you've surrounded yourself with men. Let me tell you something. All men—if they're crazy, like Tucker, if they're gay as the Queen of May, like Reddy Fox, even if they're just six years old—I'm going to tell you something about them. Men think they're Spider-Man and Buck Rogers and Superman. You know what we all feel inside that you don't feel? That we're going to the stars.”

He takes her hand. “I'm looking down on all this from space,” he whispers. “I'm already gone.”

Superman.

My father lives in Woodlake, a Bay Area condo/sports complex for senior citizens. This is a place where tough old birds come to die, but they think it's an Olympic training camp: mineral water and Frisbees. Jacuzzi, sauna, tennis courts, weight room, bingo parlor, dance hall, jet-black parking lot, jet-propelled automobiles, white stucco apartments, ice plant growing everywhere. Ducks quack across an artificial pond. Well-preserved, sun-baked septuagenarians stroll the putting green. Grandmas in string bikinis stride from the swimming pool. Dad's cohorts scamper around the courts, wearing tennis whites and floppy hats and state-of-the-art shoes and C sunglasses, wielding their oversized rackets like canes and butterfly nets. My father's studio apartment is remarkable only for the sheer number of rackets, racket presses, tins of balls, shirts, shorts, sweatbands, warm-up suits, sweat socks, shoes, jocks tossed about. It isn't an apartment filled with my father. It's a pro shop filled with the sport of tennis.

In almost every piece he writes on his antique Remington for his Woodlake-sponsored writing class—a dozen women, a retired dentist, and my father meet with the teacher every other Wednesday—he projects himself as a balanced okaynik, Mr. Bonhomie. He's held more than fifty jobs in journalism and public relations and social welfare, been fired from many of them, been plagued by manic depression for fifty years, been hospitalized and received electroshock therapy countless times, is a genius at loss. Lily Tomlin was thinking of my father when she said, “Language was invented because of the deep human need to complain.” He's always thrown a stone at every dog that bites, but in one story he sagely advises his friend, “You can't throw a stone at every dog that bites.” My father, who is the only person in the world who may have a worse sense of direction than I do, writes about another friend, “Lou can go astray in a carport. He has the worst sense of direction of any male driver in the state of California.” Time after time he lets himself off way too easily. I used to want to urge him out of this macho pose until I realized that it's a way to cheer himself up, to avoid telling mild good-bye and good-night stories, to convince himself and us he's still a tough guy from Brooklyn not yet ready to die.

Story after story is built on self-flattering lies: his children from his first marriage, from whom he's estranged, didn't attend his 95th birthday party, but now they do, bearing gifts. He's been bald since he was 40, but now his “hair is” only “nearly gone.” My mother dies at 60 (instead of 51). Writing, for him, is a chance to gild the lily. My dad still reads voraciously and he dislikes easy sentiment in life and literature (he recently declared J. M. Coetzee's brutal, astringent
Disgrace
the best novel he's read in ten years), which is why his upbeat tone fascinates and baffles.

His voice in these stories is that of a
macher,
when in reality he's obsessed with his failures and as tough as nail polish; I want him to write about weakness, about his weaknesses, but instead he quotes, approvingly, a friend, who says about women, “Remember the four F's: find 'em, feel 'em, fuck 'em, and forget 'em.” My dad, Sam Spade.

He grew up poor with four brothers and two sisters (his mother died when he was 12 and one of his sisters died when he was 16), but nostalgia reigns: “Ah, them were the days, the good old days: the age of innocence, the summers of my vast content.” “I've never felt that ‘at home' feeling about any other apartment I've lived in as I did about 489 New Jersey.” “Mrs. Mason was very supportive, hugging me to her bosom at times or drying my tears.”

My father and mother divorced shortly before her death 30 years ago, and they had, by common consent, an extremely bad relationship. But it's now a “solid-as-Gibraltar marriage.” My father, asking for time off from his boss, tells him, “I was faced with a palace revolution and the three revolutionaries at home were getting ready to depose the king.” The king he wasn't. I want him to write about forever having to polish the queen's crown according to her ever-changing and exacting specifications. I want to ask him: What did that feel like? I want to know: What is it like inside his skin? What is it like inside that bald, ill dome? Please, Dad, I want to say: only ground-level. No aerial views or airy glibness.

Hoop Dreams (iv and v)

The junior varsity played immediately after the varsity. At the end of the third quarter of the varsity game, all of us on the JV, wearing our good sweaters, good shoes, and only ties, would leave the gym to go change for our game. I loved leaving right when the varsity game was getting interesting; I loved everyone seeing us as a group, me belonging to that group, and everyone wishing us luck; I loved being part of the crowd and breaking away from the crowd to go play. And then when I was playing, I knew the crowd was there, but they slid into the distance like the overhead lights.

As a freshman I was the JV's designated shooter, our gunner whenever we faced a zone. I'd make three or four in a row, force the other team out of its zone and then sit down. I wasn't a creator. I couldn't beat anyone off the dribble, but I could shoot. Give me a step, some space, and a screen—a lot to ask for—and I was money in the bank.

Throughout my freshman and sophomore years, the JV coach told me I had to learn to take the ball to the basket and mix it up with the big guys underneath. I didn't want to, because I knew I couldn't. I already feared I was a full step slow.

The next summer I played basketball. I don't mean I got in some games when I wasn't working at A&W or that I tried to play a couple of hours every afternoon. I mean the summer of 1972 I played basketball. Period. Nothing else. Nothing else even close to something else. All day long that summer, all summer, all night until at least ten.

The high school court was protected by a bank of ice plants and the walls of the school. Kelly-green rims with chain nets were attached to half-moon boards that were kind only to real shooters. The court was on a grassy hill overlooking the street; when I envision Eden, I think of that court during that summer—shirts against skins, five-on-five, running the break till we keeled over. I played in pickup games, for hours alone, with friends, against friends, with people I'd never seen before and never saw again, with middle-aged men wearing college sweatshirts who liked to keep their hands on my ass as they guarded me, with friends' younger brothers who couldn't believe how good I was, with College of San Mateo players keeping in shape during the summer who told me I might make it, with coaches who told me the future of their jobs rested on my performance, with the owners of a pornographic bookstore who asked me if I wanted to appear in an art film, with my father, who asked me whatever happened to the concept of teamwork.

I played on asphalt, but also in gyms, in my mind, in rain, in winds that ruled the ball, beneath the burning sun. I wore leather weights around my ankles, taking them off only in bed, so my legs would be stronger and I'd be able to jump higher. I read every available book on technique. I jumped rope: inside, around the block, up stairs, walking the dog. Alone, I did drills outlined in an instructional book. A certain number of free throws and lay-ins from both sides and with each hand, hook shots, set shots from all over, turnaround jumpers, jumpers off the move and off the pass, tip-ins. Everything endlessly repeated. I wanted my shoulders to become as high-hung as Warriors star Rick Barry's, my wrists as taut, my glare as merciless. After a while, I'd feel like my head was the rim and my body was the ball. I was trying to put my head completely inside my body. The basketball was shot by itself. At that point I'd call it quits, keeping the feeling.

My father would tell me, “Basketball isn't just shooting. You've got to learn the rest of the game.” He set up garbage cans around the court that I had to shuffle-step through, then backpedal through, then dribble through with my right hand, left hand, between my legs, behind my back. On the dead run, I had to throw the ball off a banked gutter so it came back to me as a perfect pass for a layup—the rest of the game, or so I gathered.

Mr. Rossi, the varsity coach, was wiry and quick, and most of us believed him when he alluded to his days as a floor leader at Santa Clara. He never said much. He showed a tight smile, but every now and then he'd grab you by the jersey and stand you up against a locker. Then he'd go back to smiling again.

The first few games of my junior year I started at wing for the varsity. In the first quarter against a team from Redwood City, I got the ball at the top of the key, faked left, picked up a screen right, and penetrated the lane—a rarity for me. My defender stayed with me, and when I went up for my shot we were belly-to-belly. To go forward was an offensive foul and backward was onto my butt. I tried to corkscrew around him but wasn't agile enough to change position in midair. The Redwood City guy's hip caught mine and I turned 180 degrees, landing on my leg. My left thigh tickled my right ear. I shouted curses until I passed out from the pain.

I had a broken femur and spent the winter in traction in a hospital. My doctor misread the X-rays, removing the body cast too early, so I had an aluminum pin planted next to the bone, wore a leg brace, and swung crutches all year. (I recently had the pin removed, for no particularly compelling reason of any kind other than it spooked me to think of one day being buried with a “foreign object” in my body. For one thing, it's a violation of Jewish law. Not that I'll be buried; I'll be cremated. Not that I'm religious; I'm an atheist. Still, leaving the pin in seemed to me some obscure violation of the order of things.) In the fall, the brace came off and my father tried to work with me to get back my wind and speed, but he gave up when it became obvious my heart wasn't in it. Senior year I was 10th man on a 10-man team and kept a game journal, which evolved into a sports column for the school paper. I soon realized I was better at describing basketball and analyzing it than playing it. I was pitiless on our mediocre team and the coach called me “Ace” (as in “ace reporter”), since I certainly wasn't his star ballhawk. I could shoot when left open but couldn't guard anyone quick or shake someone who hounded me tough. I fell into the role of the guy with all the answers and explanations, the well-informed benchwarmer who knew how zones were supposed to work but had nothing to contribute on the floor himself. To my father's deep disappointment, I not only was not going to become a professional athlete; I was becoming, as he had been on and off throughout his life and always quite happily, a sportswriter. Listen to this trip-down-memory-lane piece he wrote a few years ago for his local paper:

Seventy-five years ago I was on the staff of the Thomas Jefferson High School newspaper,
Liberty Bell,
writing my slightly less than deathless prose about the school's athletic teams and activities. Our baseball and football teams were perpetual losers; they made a science of the art of losing. But our basketball teams were something else; twice they won the borough championship and, in my senior year, they were in the city finals.

We played Evander Childs, a school in the Bronx, for the New York City title. The final score of that game was 27–26. That's right, 27–26. In 1928 and for a dozen more years, there was no 45-second rule when you had the ball; there was a center jump after each made field goal; and the two-handed set shot was the only shot players took.

We lost that game in the final seconds when George Gregory, Evander Childs' All-City center, slapped the ball backwards into the basket on a jump ball from eight feet away. I cursed and sobbed, by turn, for the entire hour-long subway ride home. I continued the “I-won't-or-can't-believe-what-happened” tone the next day when reporting to my buddies on the block.

Other times, other values.

I make sure to visit my father in the spring so he and I can watch the NBA playoffs together. He's a huge fan of guys who try to do it all on their own—Kobe Bryant, Allen Iverson. Solo acts. At the same time, and completely contradictorily, he tsk-tsks over every bad pass, every example of matador defense, compares every team's esprit de corps—or lack thereof—to the 1970 New York Knicks. He lives for the body in motion.