yusha, part 3

(part 1 and part 2)

as the stepbrother emerges from the elevator, the sunlight streams through the glass door and beams golden off his white hair.

we do not hug or shake hands. instead, we embark upon a somewhat frantic tour of the house. i feel less like a biographer and more like a buyer, come to bid not only on the home but all the contents within.

the stepbrother’s name yields the shallowest of googles. i know very little about him and didn’t realize he had a wife and children until i’m standing in the castle’s breakfast nook staring at their portraits adorning the walls.

as with most everything i do these days, i’m not entirely certain why i’m here. we’ve two hours to talk and i come bearing a mere question and a half.

and yet, within ten minutes of small talk over framed photographs and family memorabilia, an amazingly random, potentially awesome story begins to emerge. i don’t know what to do with it but, before the stepbrother has even uttered a word about jackie, i assume i’ll be coming back.

but we’re here to talk about jackie for now.

the stepbrother sits in a high-backed chair. he gestures at the various available seating options and declares the couch “difficult.” ever one to choose the path of most resistance, i sit there.

the word “difficult” is generous. the couch is a full foot shorter than a sofa made for modern man and whatever cotton once comprised it has now decayed to the consistency of a gel.

sitting down is like free-falling onto a water-bed. my feet leave the floor and for a glimmer of a moment there’s a very real fear i’ll go bobbing over the sofa’s back. this is not good.

quickly, i gather my wits. using the momentum remaining from my initial fall into the sofa and the force of the subsequent gelatinous waves, i lurch forward so that i’m teetering on the edge of the beastly thing, my feet en pointe.

despite the awkward posture (and a belated awareness of the visibility of my bra), throughout the interview, i’ve a very great sense of how incredibly cool i am being.

for instance, when the stepbrother says, well, of course, you know jackie’s mother died in this room, i nod and smile as though that were, in fact, something i had known.

when he mentions that patrick kennedy’s wedding is scheduled for the middle of the month, i nod and smile, as my last hope of ever marrying into the kennedy family vanishes in the room where jackie’s mother breathed her last.

if the process of writing biography has taught me anything, it has taught me the very great importance of appearing cool. because the biographer has to confront his or her own inadequacies and ridiculousness on a near-daily basis and yet keep fumbling forward, moving against a very keen sense of his or her own ineptitude.

i am doing this. i am trying to be cool. usually i’m just inept and the uncoolest uncool one could ever be, but i’m trying.

i’ve not listened to the tape of this interview beyond checking to ensure that it did record, so when people have asked for details, all i’ve been able to give are the very few soundbites that were able to break through the mental curtain of OHMYGODOHMYGODOHMYGOD.

and, as i sat in the castle that day, not much made it beyond that curtain. just a few little bits…

i have sat in the room where janet auchincloss died.

i’ll likely never marry a kennedy.

during WWII, with flirty sailors at the nearby naval base, jackie traded chickens for steaks.

http://www.flickr.com/apps/slideshow/show.swf?v=104087

yusha, part 2

i’m idling by a padlocked gate with a menacing sign labeled “farm entrance” as the GPS exultantly proclaims YOU HAVE ARRIVED.

i have not.

a llama lazing in the pasture, briefly roused by the sound of tires spinning in gravel, looks up, nods curtly and resumes his nap.

i’m due to meet the stepbrother in five minutes. the fact that i can’t even hold the attention of a farm animal does not bode well.

there is very much the sense that i have stumbled into the big leagues and that i do not belong. i’m so, so minor. double A, at best.

i don’t like talking to people, much less strangers- it’s so much easier to read a book- but here i am, forking over my southwest miles, driving a rental and squatting at a travelodge off RI-4, all so i can talk to a stranger for an hour and a half.

my dad says most people feel this way most of the time. that it’s just a matter of pretending you can do something and then you will. ACTING! he exclaims, brandishing an imaginary sword.

(this has been the driving philosophy behind nearly everything outstanding anyone in my family has ever done, thus draining all our accomplishments of their intellectualism and rendering them mere feats of vaudeville.)

i’m idling by the farm entrance when i remember this. ACTING! i actually say it aloud and mentally brandish my imaginary sword. and, with a straightening of the shoulders and a tossing of the hair, i call up the stepbrother and wail that i’ve no idea where i am.

this is how i learn i am literally not 3 feet from where i’m supposed to be.

all of this- asking for the interview, getting it, setting it up, confirming- has felt like the run-up to a first date. and not even a grown-up date but a high school date, where you make elaborate weeks-long preparations to ensure the availability and cleanliness of your parent’s minivan.

i’m in an impala, which seems close enough. i’ve also painted my nails, put on a cardigan and peed no less than fifteen times before leaving home. this is classic high school date prep.

but this isn’t a date. it’s an interview with the stepbrother, who is an 85-year-old man.

upon having found the right driveway, i pull up to the castle and park in back. disembarking, my leg and sandal get tangled in the strap of my purse and i trip at such an angle that, observing me from above, you would’ve assumed i was humping the impala.

i know the stepbrother was on the second floor. i pray to god he didn’t see.

the front door is glass. i ring the bell and stand with my arms bent at a bridesmaidly angle as though clutching an invisible bouquet for dear life.

a gentle whir rolls through the air as the elevator moves into action and, from the heavens, the stepbrother descends…

yusha

(6 june 2011)

i’m sitting in a concrete garden between two skyscrapers when i listen to the message from the stepbrother—my hand held to my heart in shock as a voice that, thanks to two decades of jackie o documentaries, i would have recognized anywhere, comes out of my very own phone.

it is a 3 ½ minute display of old world graciousness that was, due to a bad connection, punctuated by loud bursts that i would have interpreted as gunfire had i not known he was calling from a castle in rhode island.

this was last august. way before the whole 9/20/13 plan.

we talked three more times and then i dumped him. i didn’t call, didn’t write, didn’t do anything. because i didn’t know what to do with him. i didn’t know where he fit in the story i was trying to tell.

that hasn’t changed. i’ve still no idea. but i’ve given myself a year. i’m throwing spaghetti at the wall and seeing what sticks.

in that spirit, i’m meeting the stepbrother in newport this weekend.

there won’t even be an attempt to play it cool here so just know: everything about that sentence is scary. that is why i have put this off for so very very long.

calling the step-brother on the phone is an ordeal so awful that i dally for whole weeks at a time before ringing him back.

our phone calls, thus far, have been epically bad. like, horrendously, hilarifyingly bad. in the made-for-tv movie treatment of Jackie: The True Story Of The (un)Making of A Book That Never Was, the scenes comprised of these phone calls are going to earn jennifer love hewitt her biggest laughs.

i speak too softly and too fast. the step-brother appears to be calling me on a walkie-talkie from the middle of an airfield that has come under enemy fire. we speak to one another as victorians not yet familiar with the cutting-edge technology of the telephone.

there’s obviously enormous room for improvement here so i’m holding out hope that it’ll be me and jackie’s stepbrother kicking it at the castle and that we’re going to be, like, totally steller communicators when we meet face-to-face.

minimal hope, mind you. but hope nonetheless.

serendipity

(8 june 2011)

there are moments when you expect everything to be crazy easy and then it isn’t. then there are other times where you’re certain you’ll have to make a horrible fuss to get what you want, and then everything falls in your lap.

i worked the lit fest last weekend. a week ago, i wrote the volunteer coordinator asking if i could be assigned to the biography panel. she said, very kindly, that there was absolutely no way.

the assignments were being handed out first come, first serve and were entirely random. the system could not accomodate requests.

i’m standing in a cluster of author escorts at university center when the assignments are handed out. and yet, i know what my random assignment is before i even get it. somehow it’s not even a shock to see the words.

assignment: author escort. hotel blake. 11:15. the art of biography.

the dream

(6 june 2011)

i’ve dreamed about her just once. once in all these years. and this was very, very early on. maybe ’94 or ’95. back when it was all much much simpler and she was just an interesting story rather than one i had to tell.

we were backstage at something in some dressing room that looked exactly like the vintage clothing booth in the back left corner of the battleground antique mall in franklin, tennessee off harpeth road.

we were not alone. we did not speak. i was wearing yellow chiffon.

she looked me in the eye and she nodded.

i remember this when i wear yellow.

russian tea time

 (1 june 2011)

i was sitting with my married friends in the corner of the russian teahouse in the early days of the deep dark winter of 2010.

i’d never met mr. married’s wife and i was seeing him for the first time in eight years. in his memories of me from college, i was reading books in corners at parties. in all of mine, he was wearing plaid pajama pants.

we talked about where we’d been living and what we’d been doing and everyone we’d ever known and then he asked what my dream job was.

i ordered an entree off the children’s menu, leaned over the vodka flights and said the first thing that came to mind: biographical researcher writing a biography on the side.

i’ve been thinking about that a lot lately.

it was the first time i’d ever put it into words.

running v. standing still

(31 may 2011)

there’s a jackie relative who’s willing to talk to me. when we spoke on the phone last august, he said, well, you know, jackie loved parades and, as well as i think i know her, i did not know that.

i’ve not met with this man for a million reasons. because i didn’t have the money, i didn’t have the technology, i didn’t have any questions and i didn’t have the emotional wherewithal to arrange for a rental car in a city whose website explicitly warns that there is no available parking and it is stupid to drive.

but mostly i have not met with this man because there’s a fool voice in the back of my head that says that meeting with him would somehow expose the severity of my limitations. this is the same voice that says my work should unfold in a neat and tidy way, that all risks are inadvisable and standing still is by far for the best.

i’m fairly certain that voice is a vile bitch.

because neat and tidy isn’t the answer. quite often you have to make a big old mess.

if you know exactly what you’re doing, where you’re headed and how, you will likely get there, but you might also miss out. because it’s by taking the risks and the paths you never planned to go down that you wind up doing the really really interesting things. the things beyond what you can dream.

there’s a jackie relative who’s willing to talk to me. i’m likely imperilling his life by admitting it, but, all these months later, i am finally ready for him.

page one

a friend said it has been hard to keep up with what i’m doing and asked what, precisely, i am working on now.

which is funny because i have no idea.

i went to washington to network with other people who love dead people and determined to sell myself as a biographical editor/researcher/assistant/anything for the very practical reason that if i’m going to keep doing this beyond august, then i’m in dire need of another revenue stream.

that was the plan. i was going to focus on getting money and worry about jackie when i got home.

when i saw her at breakfast, stacy schiff (of whose memory i am now in awe) asked, is it still all jackie all the time? and i shrugged my shoulders and said, eh, because it really wasn’t.

but then people asked who my subject was and when i said jackie they kind of rolled their eyes and started to walk away and there was nothing to do but put on my full jackie: the tabloid years regalia and stop them and say, wait. you really don’t even know.

and their eyes would widen and, by conversation’s end, i’d have them nodding away and riddled with envy over the awesomeness of my research materials.

i went to washington to make money and returned ready to ready to kill the first 150 pages of the book i wrote five years ago and begin at the beginning. with that paragraph i put down on paper in january 2004 for the first assignment in tracey weiner’s “writing biography” class.

at the time, i thought it was the first paragraph of the twelfth chapter of a book i’d not yet written, but i was wrong. it’s page one.

seeing the dolphin

(25 may 2011)

in the mid-90s there were these posters. i’m sure they had a name, but i don’t know it. regardless, there were these posters and you were supposed to stand and stare and squint at just the right angle and then suddenly, from among 800 thumbnails of al gore or whatever, the image of a dolphin would emerge.

once you’d seen the dolphin, there was no not seeing the dolphin.

and if you didn’t see the dolphin, those posters just really pissed you off.

writing is like those posters. in the sense that once you’ve glimpsed the possibility, you can’t ever not see it. nor can you really show it to someone else.

my vision of precisely what it is i’m trying to do is blurred at best, but occasionally it comes into crystalline focus. and, as though the sun has slipped out from under a cloud, there are these moments where everything is entirely possible and the path is perfectly clear.

the trouble with these moments is that they do not last. and they are few and far between. to date, i’ve had two.

one in new york in march as i walked down 6th avenue in the rain listening to “down in the valley” on repeat. the other this past weekend in washington, when a two mile hike to the lincoln memorial done in ill-advised flats felt like nothing because i was walking on air.

i’m not an expert, i’m barely a writer and i’ve no clue what i’m doing beyond the fact that i’m, at present, not writing at least four different things. but the one thing i do know is that there are these moments and they are the key.

they must be felt to the fullest. lived. savored. sunk into like a hot bath at a long day’s end.

because, on most days, the only thing that rings true is that i will wind up abandoned, incontinent and riddled with mouth cancer. yet, in the midst of that black pit of impossibles, there are still these moments, and they are enough.

once you’ve glimpsed the possibility, you can’t ever not see it. once you’ve seen the dolphin, it is always there.