Emily Hahn, NYer writer, lived in Africa, China, and was the first woman to road-trip across the United States in a Model-T. She also was the first female graduate from the University of Wisconsin’s Mining Engineering major, a feat she accomplished simply to be the first at something.

“There was, however, a great drawback to that job: I had to be at the office at nine o’clock and could not leave in the afternoon until five. It is remarkable that I held out at it for a year. It was as if I had made a resolution to give propriety one good chance; with a year of conventional endeavor behind me I ignored it thereafter with a clear conscience. The North-China work should have suited me: there was none of this time-clock nonsense about it and I was certainly not being pushed or exploited. But it was, you see, a regular job with a regular pay check, and evidently I couldn’t bear that. We seldom understand our own motives. Perhaps my ego doesn’t like having a boss. At any rate my argument in giving up the job was specious, since I didn’t do any better for myself as a free lance. To be sure I did no worse, but my letters home show after this a familiar state of mind. I seem to have been slightly worried about money all my life. Over and over I come across this phrase: “If I could afford it, I would…” or, “Wait until next month and I’ll know if I am in the clear.”

I am not happy-go-lucky. I hate feeling like that. Yet I have deliberately chose n the uncertain path whenever I had the choice, although it was not always necessary even for leisure to write what I like. “

—–

I read that yesterday at Lake Calhoun, sunning myself on an old blanket, and thought, oh, that explains all of my terrible life decisions. Oh that explains it. I think also there is a rush in the abhorring of convention, a rush that every writer must have if she wants to be any good on the page. And sometimes you apply those rules to your life. You think, a sentence is only any good if it ever feels true. And you’re unable to wear a business suit and stand in air-conditioning: because you’d truly prefer to be wearing a wild dress, and because it’s really 93 degrees outside. And you have to experience both of those true things. You’ve been taught to move in the way of truth so thoroughly, you cannot stop applying it.

And I think a good narrative is only any good if it rolls along away from convention: it’s no good if the character is successful and married and happy. She must be upset, delusional, maniacal. Her job must take her to the awful slums of terror. She must enter rooms with the sheepish hangover of not belonging. Only then can she narrate anything of any interest in any interesting way.

And I wonder if there is a price that writers pay, in their lives. Because they turned down the job at the Globe and World and Times covering Education and Commerce and Transportation and in exchange walked through a series of events that have culminated in nothing tangible, no apartment and no family and nothing but maybe if they’re lucky a name on a spine. Oh, and there are those lovers they left, long ago, because it would have been so safe and comfortable to be happy. There would have been, as an editor says, throwing down the copy, “No story.”

… to see a man was assigned the Nora Ephron obit:Image

I think Ephron would agree that her brand of feminism is more “women as equals,” rather than a view of women as superior to men (as Louis C.K. might argue).

But I don’t believe that a male author would ever be the best choice to summarize the life of a woman who rose above so much, and truly understand the heft of that.

The language my brain is using to relay the above, however, is…

What the Fuck?

(Infuriated.)

I’m home now. In Minneapolis.


But two days ago I was in Washington, D.C. at my mother’s house. And since then I drove through West Virginia, Kentucky, Indiana, Illinois, Missouri, and Iowa. Though I have driven at least halfway across the country a whopping eleven times (I am a crazy person) I had never taken this middle route, and I lulled on smaller county roads through the Appalachian hills in the morning, finding myself with dusk drawing on in Bourbon County, Kentucky, where the road was always edged with paddock fencing, and horses everywhere shifting about below trees.

I spent the night outside Louisville, going in to town to explore a bit, to speak with strangers, and then the next morning hauled myself out of bed: Churchill Downs, where the track wasn’t open yet, but a “Kentucky Derby Museum” was, with those fluffing womens hats in a glass case that I found myself looking at, soberly, in morning light. It was not how they should have been seen, and they looked like bugs to me, or cakes. Nothing of fashion and frivolity.

A loudspeaker announced there was a tour, starting, of the track, and I joined the edge of it, standing to the side of the families in colorful cottons, to follow our guide, Toni, who told a bit of “eccentric” Derby history as she led us inside the track, where we would see the dust stamped out fresh, waiting for hooves, where we would see men in tweeds with scorecards milling about. On the outside of the track, each Kentucky Derby winner’s name was engraved on a placard, and Toni paused at REGRET, 1915.

“This one is our first FIlly winner,” she said, and asked if anyone knew what a “filly” is.

“That’s a female horse,” a man in our group said.

No one asked why her name was REGRET. All the horses had weird, hilarious names. But I found myself thinking about it. Why name a horse REGRET? Why name a winning horse REGRET?

It bothered me enough that I googled to find that 38 other fillies have raced, according to ABOUT.com, which is as far as I will go into researching horse racing for you. (Except to note that the most recent one, Eight Belles, died on the track.)

“1915 REGRET”

Anyway, the only filly winner of the Kentucky Derby, ever, named REGRET. I thought about that as I listened only to women on audiobook and playlist the whole trip back.

I can name a few things I did, since I came to New York, that I think are cheating. That I know are cheating. But how could I not do them! It is so difficult, sometimes, to not read the wedding announcement of a boy you went to college with (whose father invented football?) or to not listen, in the car with your brother on the drive out to Fort Tilden, to a song he wants to play for you (Twin Shadow), or to not, when baby-sitting for your cousins up in Greenpoint, snooze on the rose-colored daybed before a glowing screen of Blues Clues? I am human, and when walking home uptown in a short red-dress, wondering what I’d do in the apartment alone — the dishes? finish the Tama Janowitz book I’m loving? — decided, before a glowing marquee, that I’d rather sneak into the showing of Moonrise Kingdom that had already started… And how I bit my nails, on that plush red chair, thinking of how I was cheating! How I hated myself and loved myself, hated myself, and loved myself. It is difficult to live according to the rules, which is what I want to write about, when I stop being lazy and pull myself out of the sludgy meat of post-school day-glo, and get my act together and keep this blog like it’s a blog.

 

I read the paper newspaper at my grandmother’s house, in Pennsylvania, looking up every once in a while at a rainstorm. Things I couldn’t read: the entire front page. Things I could read: most of the Arts & Style sections. Once again, I have found that men are allowed to report on the present and women are allowed to report on its repercussions. We are all wise soothsayers, mother-healers… seers of forests despite the trees…

Dargis says these dudes be boring. Gregory Smith/European Pressphoto Agency

And yet, at the end, after oh-so-many koekjes and oh-so many hands of Russian Bank, all I remember about the newspaper today is that Manohla Dargis found the film adaptation of “On the Road” sort of boring.

Weirdly… that review was the only thing that lingered with me, after driving away, past the exit for the Verrazzano, past the exits for the Vince J. Lombardi Etc etc. — it lingered. (Oh! How proud I was of being finally able to drive to New York without needing directions. And by proud I mean is both that it seemed so adult an accomplishment, and yet seemed, simultaneously like something I could tweet about — the  child’s curse).

“These boys scarcely simmer…This lack of wildness – the absence of danger, uncertainty or a deep feeling for the mad ones – especially hurts Dean, who … never jumps off the screen to show you how Cassady fired up Kerouac and the rest.”

That’s Johnson, lingering in the shadows in the edition I have. I think later ones leave out the questionable phrasing on the front. (“Orbit”?)

And I know that what Dargis is saying is that the cinematic representation of the madness of their journey is washed out, nostalgia as scrubbing-clean — but how gutsy a thing to say, still, for what has America been but nostalgic representations of road-trips, the first being the crossing of the Delaware, maybe, or further back, the Mayflower out here, and the second-best being the whole Moby Dick charade. And the third being The Hangover, etc. Family Vacation. I guess I’m just saying that American art has mostly sort of maybe always been about the nostalgia of the epic representation of the road trip, the road-trip that probably in the first place included a lot of deaths on board or off-ramps to Roy Rogers’. (For your information, the barbecue sauce comes separately.) And I just fucking love it that Dargis is saying it’s actually sort of boring sometimes. It can’t stand on its own.

And if I started this post thinking about media it was to say that usually I just read A.O. Scott because some time long ago — at perhaps the time of his positive review of Tim Burton’s Willie Wonka, which I STRONGLY agreed with — I decided that I thought Dargis was shit and Scott was always right about everything. And now, forced to read the females, Dargis is lingering with me, not letting me go. As she said herself, of the women in the film:

NOT boring. I mean, this is what “On the Road” basically is to the Youths. And I am PRO that.

“Elisabeth Moss and Amy Adams pump juice into sidelined wives.”

So perhaps I’ll end like a cheesy book review and say, she could say the same of herself. And perhaps if I end like a cheesy feminist, I would say, pump that juice, you sidelined wives.

***********

*Side note: it bothered me that the filmic version of On the Road seems to assume (according to her review) that Marylou is a single woman, taken from history. Joyce Johnson told us in the fabulous memoir, Minor Characters (Which You All Must Click Out and Buy) that the single woman in the novel was an amalgalm of all the women Kerouac was sleeping with, over time, and that for purposes of the novel / the fifties he made it all one woman. Take that as a token into all your future relationships, or all your future fiction practices.

** Side note 2: This is not the first time that the NYT has done near-hilarious inconclusive reporting on Kerouac.

It was easy to go without consuming any media when in New Haven. I arrived and was swept into a convertible. Maybe the radio was on, but I didn’t hear it — the wind was so strong. And then to a house, drinking PBR on the floor, changing our dresses; and then to a reception where I looked at tiny buildings — some of which were made by men, but none of which I could go inside of. And is a house ever a medium?

Breathing fresh air

There were martinis, a ride back to the country, the dusk. I think we played radio in the car, I can’t remember, I don’t think we did, and then at the country house I climbed a tree and remembered, once, how a dog had chased me up one in my youth, my glorious youth, when we were halfway between Greece and Albania — this was after the incident with the border guards, and the dirt road, and their little dog that followed us — and we were hiking to find a monastery, what we always seek, alone, to find, but not together and there were suddenly goats, everywhere, and the dogs roping them in and then the dogs were nipping at us and I climbed a tree — at least, a second later, after the dogs, I found myself up the tree, looking down at the triangles of their red mouths, and I could see that there was blood running down my leg and later, at the little Greek hospital, where the nurse gave me pills printed with the faces of little dogs — a coincidence, pain-killers — you told me that there had been a rope of fat coming out of my leg, where the dog had bit me. You said it was a yellow rope. I said I didn’t know I had fat in my leg down there, and then suddenly I remembered. Then we drove up a mountain, with me saying in the back, as the Toyota Yaris scraped over the river stones — that it was so bumpy I could feel my fat jiggling. And I felt, at the little stone house of a greek woman in whose kitchen we had pointed to a goat’s head and a clump of tomatoes to order lunch — that I couldn’t breathe, that we were so far up a mountain that there wasn’t any oxygen anymore, and you pointed to the little greek lady and said, “She’s breathing.”

Not your typical “Yale Man”

What did we want, when we were young, and did we get it? You graduated. That was the point of the weekend. You were kind to your parents. You admired hoppy beers and soft cheeses. We are old. But we are not so old. We tell the story of how I was bit by the dogs to a couple at the party — the parents of so and so, from Detroit. “I still have the scar,” I told them. But I was wearing pants and couldn’t roll up the leg far enough to show them.

Later, we sat by the gas fire I had switched on with a button. We ate cheese and grapes and wine and sausages. All the people were gone. We were all drunk. There had been eighty people there, your father said, there had been eighty people. And tomorrow there would be the dishes. I wanted to go back out to the lawn and run toward the water again and yet I didn’t want to, couldn’t stand up ever again. You passed out, on a bed above. I watched basketball with your brother. We talked about the band-aids the players wore. The band-aids were so obvious. They wanted to make a point, maybe, of having been fouled. That was the only reason I could think of, then.

But I thought of that only because we are always telling the story of our fouls. The dogs, the tree. We do it for the opposite reason, though, than the players do. We tell the stories of being hurt as if to say, each time, we never are. To the boy from Detroit, I said, “I always have the most insane adventures with her” and we tried, when smoking on your porch under the rain, to come up with a single one. I can think, now, of New Orleans in the days before the hurricane, sleeping on a porch on Magazine street, and of course I can now remember all of college’s fouls. But with you together we couldn’t. Those pasts always soaked-up by the current adventure, which grows out in every direction.

This adventure, maybe, was the rain against the car and listening to the Sea Shanties in the crowded bar, and the girl in a corset with sharpened teeth — really! — and the adventure of seeing you with your parents and your cat and how stable we seemed, eating cookies on your brother’s bed, with Justin and Ivy and Christian and Vincent. Feeling like Marie Antoinette, in a splendid castle, surrounded by maccaroons and toile. I am reading the Golden Notebook.

I gave you, for graduation, a miniature pair of scissors that fold up into a box. You can take the scissors out and use them, but it takes so long to get the blades out. By the time they’re out you don’t want to use them. By that time you have found another way to solve the problem, and it’s started raining, and the french-bread out there won’t be any good, the picnic is over, the grapes have rolled down the little green hill. The dog that was roped out there is free now. We must come in to a gas fire, and I flip on the little switch. The scissors go back, for now, in a small green box.

Follow

Get every new post delivered to your Inbox.