Maternal Dementia

“Antoine keeps dragging me.”

This is a turn of phrase I’m accustomed to hearing from my contemporaries, reporting about a wildish night out or even just what happened waiting for me to turn up at our favorite café for an afternoon beer. I didn’t expect to hear it from Buddy-roo.

Dragging is a classic example of Franglais. In this case a French word transformed into an English verb by adding -ing. My friends often do this with French words to be funny or sarcastic. Buddy-roo simply didn’t know the equivalent word in English: flirting.

This use of dragueur comes from the French cineaste Jean-Pierre Mocky and his 1959 film, Les Dragueurs, in which an unlikely pair of men, one a serial skirt-chaser, the other more reserved and eagerly seeking a wife, go out on the town in Paris, flirting with every woman they meet. It was called The Chasers when it was released to English-speaking audiences, and if you watch even a short excerpt of the film you’ll see that the title is apt.

The original verb draguer means to dredge or trawl. It’s also used to describe the task of minesweeping. But as a result of the film, the term is more commonly used to describe the act of hitting on someone. As a noun, a dragueur (or dragueuse) is the consummate flirt.

“What about Vincent?” I asked her. Last week he was Buddy-roo’s true love. “Or Ethan?” He was last year’s heartthrob, and it’s my understanding that kisses have even been exchanged between them.

“I still love them,” she shrugged, “but now I like Antoine, too.”

This all sounded too familiar to me, in that transparent, embarrassing way that your children mirror a part of yourself or your past. When I was going through the boxes I’d left in my mother’s basement, I found several diaries from when I was Buddy-roo’s age. I sat on the dusty chair under a single light bulb, reading the pages of dribble and cringing at the recounting of the romantic details of my life at age eight: how Kenny smiled at me in the lunch line, or how Billy said he loved me but I really loved Phil. Would Timmy hold my hand at the roller-skating party? Five pages later, the names were changed but the passion was just as fierce. How fickle, the flame of young love.

How do we learn about flirting? Is it something that just comes naturally? Is it observed or inherited? Short-pants can’t be bothered to think about the boys in her school as anything but classmates, while Buddy-roo intuitively creates a hierarchy of her romantic preferences. I’ve seen her in action. If those boys are dragging Buddy-roo, there’s a good chance they’re merely answering her coquettish call.

Should I talk to my daughters about flirting, its benefits and consequences? I know a bit about the subject. I was named biggest flirt in my high school senior poll and I’ve been told I’m not so bad at barstool banter. I’m a good wingman for my single friends; I’ll start a conversation and leave it for them to finish. One English summary of Les Draagueurs describes how the two bachelors think they’ve struck gold until “it becomes apparent that these two wily lasses only want someone to pay for their drinks.” That’s a motive I understand. It could be my epitaph: She only wanted him to buy her a beer.

My mother never gave me any advice about flirting. I don’t fault her for this. It wasn’t part of the logos of her generation. But I’m wondering if some kind of guidance isn’t appropriate. What would I say? How it’s fun but you have to be careful, how it can be hurtful to someone who takes you more seriously than you intend, or you can inadvertently hint at something you don’t mean to convey and get yourself in a sticky situation. How it’s a dance, but you have to be mindful how you step. Unless drawing attention to it only hastens the 50-yard dash Buddy-roo is already making toward the world of love and lust. Arming her with a bit of information could make her wiser – or just more wicked. Either way, I think we’re flirting with disaster.

I called first. Yes, the store was open all day, until six. Yes, they had archet d’alto. The woman on the phone – I learned later that her name was Odile – asked me a question that would save us both time: what was I willing to spend? We agreed on a range, which was even a bit less than I had expected to pay. I was glad to know I could get a good viola bow without breaking the bank. I am an amateur musician, so I do not need top-of-the-line. But I was once a decent violist, and mine is a fine enough instrument to merit a bow that will make it sing.

There is a feeling that accompanies you when you carry an instrument, a kind of musical legitimacy that is not only broadcast but that is confirmed within. Walking down the street with viola case in hand, I had a kind of visceral nostalgia – not just a memory, but a replay of the feelings of that long ago time, fierce and full-bodied; I could feel exactly what it was like to be at a rehearsal. The faces of all my orchestra friends right beside me, looking up at the conductor as he scratched his beard just before raising his arms and snapping the baton. Those boys I had a crush on, the ones in the horn section, I could see them all, under that one forever-flickering fluorescent light in the back of the rehearsal hall. I was right there again, with all the harmonies and hormones of my youth orchestra experience, all this just from holding the handle of my instrument case.

It’s been almost two years since my bow broke, ironically only a few months after taking my viola in to be totally refurbished after years of not playing it. Short-pants would practice for her lesson and I’d wish I could pull out my instrument and play, too. Sometimes the pieces she’s assigned have two parts and she’d beg me to play along with her. But without a bow, I could not draw any sound from my fiddle, so I would answer to myself that I must absolutely carve out a few hours the next week to go to a luthier and remedy the situation.

Weeks and months and much more than a year went by.

Last week, Short-pants was practicing a piece for her lesson, a simplified excerpt from the 2nd movement of Beethoven’s 7th Symphony. She was having a hard time staying in tune, partially, I determined, because she didn’t know the tune. I found a recording on YouTube, and sat her down to listen to it. This particular movement is one that almost always draws tears from me, which perplexed her.

“Mama, why are you crying?”

“Because it’s too beautiful,” I told her. I didn’t know what else to say. How do you explain the way music can move things around inside you?

~ ~ ~

Rue de Rome is lined with stores featuring cellos cases and hanging violins and other stringed instruments in their windows. I’m not sure how I would have known which store to go to had I not a specific recommendation from a friend who’s a violinist. One finds this often in Paris: an entire street dedicated to the same industry, be it stringed instruments or textiles or handbags. How one purveyor differentiates himself from another amongst so many is beyond me.

Odile had laid out six bows for me to try. She vigorously rosined each one while I tuned my instrument. I was worried about playing in front of her. I hadn’t played in a long time. Not only would the instrument be cold and closed, my fingers were rusty. I’d even forgotten to cut my nails. I knew this was silly. I shouldn’t care what this woman thinks of my playing, I told myself. It didn’t help, I was still self-conscious.

I picked up the first bow and positioned my fingers around the frog. I drew the bow across the open strings, just letting them ring. Then I started an old standard, Telemann’s Concerto in G, a piece that every violist has played at more than one recital. I lacked the nimbleness I once possessed; I stumbled through the sequences of eighth notes. No matter, I told myself, just listen to the sound.

“They are all somehow different,” she said, “and you can never explain why or how. You just feel it.”

How true. One bow seemed to make a sound more metallic, and another slid too swiftly across the strings. Another harbored some invisible inertia, even with more rosin it felt heavy, sluggish. The next one was good, okay, but it still didn’t feel like it fit me. And so on. I tried each bow, pushing aside the thought of anyone in earshot, immersing myself in the technical details of each bowing experience, analyzing it – but also feeling it – until I narrowed it down to two favorites.

Odile took my instrument and played for me with each bow to give me the experience of hearing them in use, not from beneath my chin but from a distance. Then she regarded my viola and asked if I liked those strings. And did I feel that the bridge was too high? I shrugged.

“Will you permit me?” I consented to new strings and the shaving-off of my bridge and watched her carry my viola up the stairs to the mezzanine where some artisan performed a magic fix. Fifteen minutes later, she handed my instrument back, and nodded at me to try the bows again.

There is a passage in the JC Bach’s Concerto in C Minor that uses all four strings in a cascading rhythm. With this in mind, I selected one of the bows, and let it fall back and forth on all the strings in long, heavy strokes.

“Push with your finger,” she coached me. I dug the bow into the string and used its entire length. The sound bellowed and danced around me, rich, voluptuous.

“Now try the same thing with the other bow.” I did as she commanded. I forgot that anyone else might be listening, but pressed myself into the notes, bonding with them, breathing them to life. So quickly was I lost in the music, even with my scruffy, out-of-practice sound. I was playing my viola again.

It was clear that the second bow was mine. Like Harry Potter’s wand had chosen him, I too had been selected. I ran my fingers along the polished wooden stick, pressed the taught horsehair up against my nose.

“Hello,” I whispered to it.

~ ~ ~

That night, Short-pants opened her music case and I opened mine, too.

“You got your bow!” she squealed in full delight.

I suggested we play the Beethoven piece; she could play the first part and I’d play the third, so our harmonies would be distinct. We rosined our bows in tandem, and sat side-by-side with bows poised upon the D-string. I looked over at her, prepared to start, except she raised her instrument and dipped it down, the way an accomplished musician knows to lead off an ensemble. We plunged in, stalled and restarted a few times, but soon found our way to be in sync. After only a few tries, we played the half-page of music together start to finish. De-facto and Buddy-roo applauded wildly. Short-pants beamed. And for all the reasons you can surely imagine, I smiled too, keenly aware of just how music can move things around inside you.

We arrived on Day 5. The fiesta of San Fermin is not arranged by the day of the week; people don’t say Thursday or Monday; they speak of calendar days. It starts on Day 6 and ends at midnight on Day 14. This is how the bullfight tickets are numbered, it’s how we talk about when we’ve arrived and when we’ll depart. When you have a reservation at a restaurant, you have a compromiso for lunch at 2:30 on Day 11. That is, if you even dare to make a plan because inevitably the moment you must go in order to keep an appointment, you are in the middle of some other spontaneous moment you don’t want to leave.

Our habit is to arrive the day before the fiesta begins. We meet our landlord in a favorite bar across the street from our piso and buy him a drink. While sipping this first glass of rosado, we keep an eye out for a couple of strapping Aussies to entice to haul our bags up to the sixth floor in exchange for an invitation to return one morning later in the week to watch the encierro from our balcony. We’ve made a few friends that way, and given a few first-time-at-the-fiesta-boys a chance to see the run before they try. Most important, we’ve preserved our backs for the days of bar-standing and wild-dancing ahead.

There is a bullfight the night before the fiesta starts: the novillada for young matadors just coming of age. Our gang of early-arrivers gathers and greet and go to the bullring. It’s odd to see each other in regular colored clothing; it’s not until the next day at noon, during the opening Chupinazo, when the gun goes off that an entire city dressed in white ties red pañuelos around their necks, raises a glass or a bottle and the fiesta begins. The back balcony of the opening party we usually attend looks out at a cathedral with an enormous bell that rings only a few occasions during the year, this being one of them. After the noon gun, we race back to the back balcony to hear it toll. The sun is high in the sky, the Navarran hills peak in the distance, the fiesta has started but all of it is still before me: days of dance, drink and delight.

Later that evening, if we’re privileged enough to have a ticket to the bullfight, we migrate with the masses toward the corrida. There is kind of an electric buzz as everyone enters the arena, their white clothes still clean and pressed as hugs and kisses are passed around, warm salutations for those seated in the nearby seats, fiesta friends not seen since this time last year. The habitual questions: When did you arrive? When will you leave? Some people surprised that I can stay so long, until Day 12. Others, more seasoned, dismayed that I must leave before the fiesta is finished. Each year it pains me to leave early, but Short-pants celebrates her birthday on Day 13, and I refuse to dampen her party by not appearing. But now is not the time to think of my departure. I scan the bullring, a marvel of white and red, I think about the week ahead, a stretch of six days and nights with revelry and music and laughing still in front of me, it seems like plenty of time, the end of the fiesta for me is ages away.

The days of the fiesta pass. Some rituals are strictly observed and others spontaneously abandoned. Many fiesta friends, it seems, were celebrating milestone anniversaries this year. Mother Theresa, close friend and part of the cuadrilla I run with fêted her 10th year of attending the fiesta. A good friend was honored several times because this was his 50th consecutive year at San Fermín. Another counted this as his 40th anniversary. Then there were new friends who joined the debauchery this year for the first time, falling into our circle and marking (hopefully) the first of what might turn into their long run of fiestas.

Each day of the fiesta is intense, living a week’s worth of emotions in 24 hours, the highs and lows like a giant sine wave. I had moments of pure alegria: listening to those cathedral bells ring with friends on that back balcony after the opening gun; one afternoon happening upon a few people lying in the grass with their feet raised in the air against a fence, joining them and then, surprised to hear their voices raise together in Basque folksongs; dancing wildly until 3 am, or all the night and sleeping through breakfast; doubling in hysterics at jokes I didn’t even understand – something about the Bronze Age – just because the laughter of my friends was too contagious not to join them. The lows, of course, as crushing as the highs were exhilarating: a misunderstanding with a friend, a missed lunch invitation, a wave of fatigue so fierce that leaving the fun of the fiesta to sleep for a while is the only recourse.

Before I know it, it’s Day 11. At breakfast, I look up and down the table of friends and consider that soon I will have to leave them. All that nonsense about ages to go before my departure vanishes, in what feels like the single wave of a matador’s capote, the week has flashed by and I’m already saying my goodbyes. Polite nods to neighbors at the bullring, hugs across the bar to barmen who’ve served me well all week, tears and long embraces with friends I won’t see for another year. The sound of my suitcase wheels on the stones as I roll it down the street away from the fiesta while it rages behind me – this is the saddest ballad I sing every year.

A taxi ride to the frontier and a train ride to France is just long enough for two catnaps that allow a reasonably cheerful arrival. De-facto, who’s survived two weeks as a single parent, folds me into his arms. I get the run-and-hug-and-cling welcome from my daughters, who seem notably taller than when I saw them last. I return to the quiet of the country house, lingering morning cuddles in bed with the girls, the smell of a baking birthday cake in the oven. The boom-boom-boom of the fiesta seems far away, and it is, I suppose, until next year, when those six days will once again stretch ahead of me with all their promise, and the end of the fiesta will feel, once again, ages away.

“The tricky part is right here, after the storm in Kansas,” De-facto said, pointing to the creased sheet of paper that had been folded and stuffed in his back pocket, removed and unfolded, again and again. These were the set change instructions and they looked relatively simple, which was what worried me. He was in charge of the sets for the performance; he’d crafted and painted many of them, built the stage extension and choreographed the scene changes with the director. His crib notes made sense, to him.

I’d been in the audience the night before, the opening night of the school’s English section performance of The Wizard of Oz. I know it’s easy for proud parents to crescendo their praise to a distorted level, but I think I am not exaggerating when I report that the production was a first class piece of children’s theater.

A truly dedicated group of parents, affectionately named the Yellow Brick Road Crew, started the engine on this production way back in March. The director of the play, a multi-dexterous woman with talent and tact motored it forward with a professionalism that far exceeded her volunteer status. The rehearsals started as a Saturday morning activity. Then Sundays were added, then Wednesday afternoons, too, as the dates of the performance drew near. Lines were memorized by small, elastic brains, songs transposed and rehearsed until they could be sung by heart. Dance steps were choreographed, even practiced by adults in the café, trying to figure out how four kids might skip together arm-in-arm on a narrow stage. A week earlier, the dress rehearsal for their classmates was chaotic and choppy – as a first full run-through in costume with sets usually is – and even then, the teachers and peers were seriously impressed. But the real test was opening night, in front of a (paying) audience of adults, teachers and family members. The debut was a glowing success, acclaimed by all the spectators who were present, many I suspect, who had come with modest expectations. It was, after all, just a primary school play.

Except it was so much more. Yes, the sets were low budget, sheets of calico painted by harried (but artistic) parents and a few exceptionally obedient children. The lights (operated by a father in oven-mitts) and mikes were borrowed and jerry-rigged. The costumes were puzzled together on a shoestring budget (though brilliantly executed). But it was the actors who really brought the stage to life: twenty-some kids under the age of eleven, who’d learned not only their lines, songs and dances, but also memorized their cues for entering and exiting – no small feat because in order to give more children parts in the play, there were multiple actors for many of the roles: five Dorothys, three Scarecrows, three Tin-men, two Wizards. One actor would exit stage left, her replacement would appear through the center of the curtain at the start of the next act. Short-pants was Glinda in act two, after the house lands in Oz, and then the Scarecrow in act three. This called for a high-speed costume change during the song “We’re off to see the Wizard,” as Dorothy (played at that point by Buddy-roo) and the munchkins (played by a gaggle of kindergartners and first graders) danced on the yellow brick road.

Short-pants has a natural temperament to be the Good Witch of the North and there was a sweet and special chemistry on stage with her sister (who was truly lovely as Dorothy), but it was in the role of Scarecrow that she really found her stride. It was like she able to access the part of her that really is the Scarecrow, that slightly clumsy, brainy, loyal, lovable friend. During her solo number, as she side-stepped across the stage singing “I could think of things I never thunk before,” my throat got all lumpy and choked up and my eyes got a little teary.

The casting had been handled marvelously, every child had a chance to try every role (although we learned only recently that Buddy-roo refused to read for any part other than Dorothy). Then the kids were seriously coached. They weren’t just reciting their lines, the director had drawn each actor into his character. She’d guided, suggested and cajoled to help them breathe life into their parts. But she also got out of the way to let each child interpret the characters on their own, and let their creativity come out. The children were clearly having a great time. This was observable and palatable; you could feel how much fun they were having on stage.

I think most of us in the audience were in awe: of the actors, of the director and the transformation she’d alchemized, of the world-class musical parents, who did more than accompany the performance; their music was like a soft blanket underneath, supporting the kids without ever upstaging them. We were in awe of the people behind the scenes, committed parents who were sorting costumes and props, working lights and projectors. (De-facto even donned a green wardrobe to blend in with the cast while hanging scenery.) This was a real show.

With a good performance under their belt, a bit of feedback (speak louder, project to the back of the room), the kids seemed confident and excited to have another go for the final show. My role, on night two, was to sit with the littler actors and help to keep them quiet between their munchkin scene and at the point when they’d all wrap themselves in green satiny capes to become the citizens of the Emerald city. But the guy who’d partnered with De-facto on the sets the night before expressed a desire to see his child in the performance, so I volunteered to switch duties with him. He briefed me and it seemed clear enough. Besides, I was working with De-facto. We work together all the time.

“After shaking the curtains for the storm,” De-facto said, “put out the props and then you have to run to blow the bubbles for Glinda.” My eyes were glazing over as I was reading through his set instructions, trying to make sense of the timing. Much of what we had to do happened between acts: changing the background scenery, placing or turning a painted cardboard tree on the stage, putting the witches legs out under the house; but it had to happen quickly and at the right time. In some cases, the only cue to help me was the previous line in the script, so I knew what I had to do, I just wasn’t always sure exactly how long before I had to do it.

The curtain shaking (“shake them hard,” he’d said, “but not so hard that you knock over the sets,”) went well and before I knew it we were blowing bubbles, a pointless act, really, as my little bubbles hardly flew far enough on to the stage to be seen and the giant-bubble releaser he was blowing through only seemed to work when he was practicing with it backstage. It was a minute later that our friend, the guy who’d worked with De-facto the night before, snuck backstage and said, “where are the legs?”

The legs! I ran for them, slipping and falling, toppling Dorothy’s suitcase under the prop table. We managed to push the legs out under the set of the fallen house, fortunately in time for the moment when the wicked witch turns to them and tries to pull the ruby slippers off and they recoil back under the house.

At least I’d messed up on the scene with my own kids. But I didn’t want to mess it up for any others. My confidence shattered, I pestered De-facto for the rest of the show, “Now? Do I do it now?” It was comical, how the two of us were running around changing sets and props. At one point we were holding the curtain back to create a great-and-powerful shadow effect for the wizard and I noticed the heavy (and possibly dangerous) canister of helium at the edge of the prop table, on the verge of falling onto the floor where it very easily could have rolled out on to the stage. I couldn’t reach to move it, the shadow of my arm would have been visible to the audience. I pointed to the table and mouthed to him, “the helium” but he couldn’t make out what I was saying. “What?” he mouthed back, fumbling over the table, touching every item on it but the helium can. Mouthing unintelligible words back and forth, our faces wrinkled in masks of confusion and frustration. If we could have spoken, we’d surely have been screaming at each other. “What?” “Grab the helium can for Christ’s sake!”

A frenzy of activity between each act, and then the lull before the next set or prop change, during which we’d stand around laughing hysterically at ourselves. I mean, we’ve produced some complicated events for our clients, but here we were scrambling to keep up. It was the Wizard of Oz, after all, a story we both knew by heart. How hard could it be? Then all of a sudden, the act would finish and we’d be scrambling again. At one point a costume crisis – key elements of the wizard’s garb went missing – had us running around like chickens with our heads cut off in search of a turban hat and the sequined cape, a panic which made De-facto late for one of his cues.

Having been in the audience the night before, I knew it wasn’t the end of the world that I’d missed the cue on the legs. If you weren’t seated in one of the front rows, you couldn’t even see them. At least they appeared in time for the moment they were most needed. I think our crazy panic during most of the show was contained back stage. Though we couldn’t see it, we knew what was happening on stage was another fantastic performance. The kids were awesome, each one of them giving something of themselves to the audience, in a poignant song, a creative gesture, a comical dance or an ear-piercing scream. What a gift they gave us, our little thespians.

What a gift, from the Yellow Brick Road Crew, all the time and attention given to our children so they could have a real theater experience, filled with all the hard work and risk and exhilaration that come with acting.

What a gift, to the parents. Despite occasional complaints about lost weekends and schlepping to all the rehearsals – even for those of us who were involved only on the periphery, it felt like it took a lot of time – this production brought us closer together. We bonded. I got to know people I didn’t know before, and the ones I knew, now I know them more. I have developed a deeper respect and affection for the other parents at the school; all it took was a make-believe storm in Kansas to help me see that all these amazing people have been there all along, right in my own back yard.

“Why are you all laughing?” The guide looked around as the group of 9 and 10-year olds congregated before the naked statue. The children giggled again, like Munchkins. She persisted, in a high-pitched voice, with her mouth shaped like she’d just bitten into a lemon. “Mais pourquoi vous riez?”

She explained that Rodin, like many sculptors, had carved nudes in order to portray the power of the human body. “If this statue were clothed,” she said, “you wouldn’t have the same sense of its power, would you?” The childrens’ heads turned side-to-side in a definitive non; they were obliged to agree with her.

I do appreciate the guide’s attempt to confront the children’s nervous laughter as they stood in front of a nude statue, but her manner was a bit patronizing and served only to fuel it. Couldn’t she remember what it was like to be ten? When body parts were all a big mystery? Or was she born a docent, immediately sensitive to all sophisticated artistic notions and nuances?

When I saw the note in Short-pants’ cahier de correspondance soliciting parents to accompany the field trip, I wondered whether the Musée Rodin was one I’d choose for a group of students that age. Rodin is a favorite of mine; his work so sensual, approaching the erotic in a tasteful, artistic way. At an earlier time of my life, this museum was the kind of cultural excursion I’d suggest to someone whom I hoped to know as a lover. I think maybe the last time I was at the museum was just before I seduced De-facto.

But hey, I’d rather my children learn about love and lust from art than from some mysterious link on Facebook. Plus I was curious how it would be handled, so I signed up to accompany the class.

~ ~ ~

Last weekend, we were heading down the stairs, on our way to a Wizard of Oz rehearsal, when Buddy-roo gave me her most impish look, a knowing, coy smile out of the corner of her eyes as she gazes up at me, slightly embarrassed but with a sense of superiority woven in. I know this look. Something interesting usually follows it.

“Do you and Papa do the sex?”

I love the use of the definite article. I’m not sure if this is a translation from French, where some words have definitive articles that wouldn’t in English, or if it’s just a quirky thing she picked up from talking about it in the courtyard with her school mates, which is where she says she first heard about the sex. I think De-Facto and I should start using it, too:

HIM: Would you like to have the sex now?
ME: The sex? Sure!

It’s not the first time she’s asked this question, so she wasn’t asking because she didn’t know. She just wanted to talk about sex. Rather than risk dismissing her question by referring to our previous discussions – I want her to feel like she can bring up the sex with me anytime she wants – I answered her as though it were the first time she’d asked.

“Tell me, what does it mean to you, to do the sex?”

Her answer, through a sheepish grin, “it’s when you get naked and you kiss.”

“Oh, well yes, Papa and I have done that.”

“There are two kinds,” she said, switching on her authoritative voice. “There’s the sex, and then there’s the sex at the beach.”

A pastel-colored drink with a miniature umbrella came to mind, something with a sugar-induced headache the next day. But I asked for clarification.

“Well, it’s when you get naked and go swimming,” she said. And then, after waiting a moment, “Have you and Papa…?”

I nodded – not too vigorously – but affirmatively.

She covered her mouth with a curved palm and giggled.

~ ~ ~

When it comes to handling questions of a sensitive nature, I try to use plain language, keep answers simple and address only the question that’s been asked. “Did I really come out of your belly?” is answered with, “Yes.” There’s no need to explain how a baby got in or out of my belly – unless someone asks. Once Short-pants did ask, and I told her a woman’s body changes in amazing ways when it’s time for a baby to be born, everything stretches to make a big opening, and then goes back to normal (more or less) after the baby comes out. She was satisfied with this response.

I read this advice in a parenting book and so far it seems to work. It’s not foolproof, as evidenced by this video, a link for which, coincidentally, was sent to me by two different people on the same day, the very day I went to the Rodin museum with Short-pants’ class. This got me thinking. Am I copping out on the sex talk? Me, Ms. In-touch-with-her-sexuality? Ms. I-once-did-lots-of-research-for-a-TV-documentary-about-sex-in-Paris? Now that I’m a mom, have I developed a prurient streak?

At the museum, one of the other mothers who’d come along to chaperone leaned in and asked me, “Have you had the sex talk yet?” I immediately answered yes, thinking about a book I’d given Short-pants called The Care & Keeping of You, a lite version of Our Bodies, Our Selves written for little girls. It contains dozens of helpful explanations about all the changes that happen as you enter puberty, with a few anatomically-descript cartoonish-drawings in the section about menstruation. Then I had to correct myself; this book has nothing in it about the boy’s plumbing, and nothing about the deed itself. We do have a book that’s about the birds and the bees, First Comes Love, (Short-pants likes books, and apparently so do I) but it’s still stashed in my closet, waiting for its moment to be presented.

“I’m waiting for her to ask,” I said.

~ ~ ~

When I was seven years-old – younger than both Short-pants and Buddy-roo – I remember playing a little you-show-me-yours-I’ll-show-you-mine with the neighbor boys. It was all very innocent and we tired of the game rather quickly, returning to the dirt track and quarry we’d carved out of the sandbox for our Tonka trucks. But I understood that being naked – even partially – had something to do with making babies. That night, lying in bed, I convinced myself that I was pregnant. The next morning, I told my mother.

“Oh honey, don’t worry,” she said, “you’re not pregnant.”

Did my mother wonder why I thought I was pregnant? Wasn’t she at least a little curious what prompted my question? I don’t fault her. She was from a different time and generation. But I was left to fester with my concern, because I hadn’t asked the right question.

I ended up going to my sister, who was in the bathtub shaving her legs, and when I told her I was probably pregnant, she explained to me why I wasn’t, very matter-of-factly. I was repulsed.

I think this is the reason why we avoid the sex question, no matter what generation you’re from. I don’t think we do it to protect their innocence, we do it to protect ours. Up until now, there’s this last pocket of privacy between the adults in the household, something those damn kids don’t have their runny noses poking into, something that’s ours alone. The minute the children understand how they came to exist, and how it involved this rather (until you’ve tried it) unseemly act, it’s all over. They’ll look at us differently. They’ll sneer at us and whisper about our body parts intersecting. The respect that they’ve granted us as parents will be degraded into the disgust one has for a dog that’s humping a fire hydrant. (Just for De-facto, of course.)

If Buddy-roo knows it’s about getting naked and kissing because it’s a subject of conversation in the school courtyard, and Short-pants has a book with drawings of a developing girl’s body, chances are they know a good part of the story, like I did. Do I wait for them to ask the question directly, leaving them in the dark, or the partial-dark? Or is it time to volunteer the whole naked truth?

After sprinting down the stairs and turning the corner, Short-pants stubbed her toe on the step into the living room and exploded into screeching tears. I was careful not to run to her too swiftly – I hate to fuel the crisis with more panic – but still, a young girl’s throbbing toe deserves a little sympathy. I kissed her dirty toenail (only a mother would do this) and offered the standard, reassuring words before turning back to finish unpacking the suitcase from our weekend trip.

“No, there’s something else.” Tears were dripping down her cheeks like open faucets. “It’s Mother’s Day. I just saw it on my calendar. And we didn’t do anything for you!”

Of course this was not news to me. I’d deleted scores of Mother’s Day promotional emails that fell into my inbox because of the various mom-blog newsletters I read. But since we don’t consume a lot of media in our home, let alone American media, the over-marketed Mother’s Day messaging somehow didn’t reach anyone else in my family. I am perfectly capable of hinting at it, “You know what I’d like to do for Mother’s Day is…” and in the past I have. But sometimes it just feels akward to be pointing it out.

I’d pretty much put it aside. Who wants to be held emotional hostage by a Hallmark holiday? Though if anybody deserves an extra day of appreciation – even if it is the commercial idea of a greedy greeting card company – it surely is your mother, often the most taken-for-granted person in the family.

My brother did call to wish me a happy Mother’s Day, inquiring if I’d been celebrated sufficiently. “Look at it this way,” he said, “you didn’t have to pretend to enjoy that burnt-toast breakfast and wax enthusiastically about the handmade cards.” He had a point.

~ ~ ~

De-facto had reason to be in the UK last week, and another project scheduled there again early this week, so instead of him doing a back-and-forth, we decided I’d bring the Short-pants and Buddy-roo across the channel and we’d play London tourists for a weekend. We have some new colleagues-turned-friends who generously offered us accommodation, tackling the hardest part of being a tourist in London: the cost of hotels. With a little bit of juggling schedules, training in and out of the city and making use of the left-luggage service at the station, we choreographed a busy weekend: the London Eye, the British Museum, Westminster Abbey, and a matinee show of Wicked, the story of the Wizard of Oz before and after Dorothy lands in Munchkinland. Both De-Facto and I had seen it on a kid-free London theatre weekend a few years ago, so we labored a bit over the decision. Both of us wanted to see something that we’d not been to before, but in the end I pressed for Wicked knowing the girls would love it. Besides, they’re both stars in the Wizard of Oz school play, so this was relevant backstory. (Shouldn’t “parenting travel” be tax-deductable?)

One of the cool parts about being a mom (or a parent, for that matter) is introducing your children to culture. It’s not the first time we’ve taken them to the theatre, they’ve seen stage performances of On the Town, Les Misérables and The Sound of Music in Paris at the Chatelet Theatre, which is pretty special. But nobody does theatre like the West End. And we had brilliant seats that were just-the-right-amount close to the stage. I spent as much time admiring my children’s open-jawed, concentrated-awe as I did watching the actors performing their story.
My favorite moment: at a climatic point in which Elphaba, who was good-hearted and thoughtful before becoming the Wicked Witch of the West, stood on stage with Glinda, who’d been vain and self-centered before growing into the more gentle-hearted Witch of the North, and they sang to each other about the important exchange their friendship had yielded. In one song, an ambiguous complexity of life expressed: how circumstances can turn someone good into someone wicked, and inspire someone wicked to do something good. Short-pants moved her hand on top of mine, and I turned to see a tear sliding slowly down her cheek.

“It’s sad,” she said, “but it’s also happy.”

Much like the sappy scene in Pretty Woman when Julia Roberts’ character goes to the opera and gets it, not only did Short-pants love the staging and the magic of the performance, she also understood the poignancy of this moment in the play. To witness how this moved her, well, I suppose that’s right up there with the coolest Mother’s Day presents you can get.

~ ~ ~

She sobbed in my arms. I’m sorry maman, we should have done something for you today. I didn’t even make you a card.”

Here’s what you’re supposed to read next: “and in that moment, I realized this was the joy of motherhood, and the only acknowledgment I needed.” But I’d be lying if I reported to you that in an instant I relinquished any residual, though mild, disappointment I’d been harboring.

I’m a little more wicked than that. It took me a few more breaths, a couple of my own tears at being forgotten (except of course I know I’m not) and a short visit to the memory bank. I’d spent a fair amount of time, on this Mother’s Day, thinking about (and missing) my own mother, whom I took entirely for granted as a child, and whom I treated with the typical disdain of a teenager. I grew to admire her, and then (especially) to appreciate her after becoming a mother myself, when I began to understand what kind of a sacrifice is required to be a mom, and how she’d done it so elegantly. I never knew if it had been hard for her or not.

Then, okay, I could get there, to see the message in this beautiful expression, this whole-bodied apology – how my little girl’s heart was breaking because she was afraid she’d broken mine. So when I said that “this hug is the best gift you could give me for Mother’s Day,” I really meant it.

We embraced for a long time. Buddy-roo even came over and put her arms around the two of us and joined the love-in.

“But wait,” Short-pants said, lifting her head, “we still have French Mother’s Day to celebrate.” Her eyes lit up with an idea. “I’ll make you breakfast in bed!”

One morning in November of 1977, my father woke up to discover his wife pictured on the front page of the daily newspaper. She stood with her arm raised defiantly in the air waving a placard, cheering beside her cohorts, the delegation of women from New York State who were attending the Equal Rights Amendment caucus in Houston, Texas. The photograph had been picked up by the Associated Press wire service and appeared in newspapers nationwide – my mother received clippings from friends and family from all over the country.

I would never have called my mother an activist, but I think she classifies. Throughout her life, she was engaged in local and state (and even a little national) politics. A Rockefeller Republican – for real, she knew him – she managed to be fiscally conservative but socially tolerant, something that’s hard to find these days with the cacophony of the current political climate in the US. She was pro-choice and anti-discrimination. She worked for the passage of the ERA because she believed it would give women the opportunities that they deserved. Growing up with my mother, I couldn’t help but be cognizant of the strides women had made. I admired Gloria Steinem and Bella Abzug. I would be a feminist too, just like my mom.

It helped a lot that my father stood beside her. He respected her immensely and the support and encouragement she gave to him was reciprocated equally. As a little girl, watching and learning about male-female relationships, this was the ideal scenario to observe. It created an expectation, one we ought to cultivate in all little girls, everywhere.

A small aberration: in college I attempted to distance myself from the radical segment of the women’s movement by giving a speech about how I didn’t call myself a feminist. It was an exercise for a class titled Persuasive Communication, which happened to be taught by the resident feminist on campus, a woman who once phoned the request line at the college radio station to complain about the lyrics to The Rolling Stones’ Under My Thumb. My speech, I’m afraid, wasn’t terribly persuasive, but it was a pass/fail course and I still got credit for standing up in front of the room. A few years later, when I went to work in the real world, it didn’t take long before I regretted the talking points of that speech. I came to understand that the existence of the radical is what moves the middle, it draws attention to issues that are otherwise swept under the carpet. There is good reason to stand with your strident sisters.

But what do girls today know of the battles fought by our grandmothers and great grandmothers so that we could be liberated? My daughters have seen the photograph of their grandmother practicing her feminist politics, but they don’t understand where she was and what happened, or that even though the amendment was never ratified, it still had an important impact on women’s rights.

“Women, for real, weren’t allowed to wear pants?” Buddy-roo said, in response to my list of all rights women had to fight for. Short-pants was fixated on the idea of equal pay for equal work, shocked that a man might be paid more for doing the exactly same job.

“Does Papa make more than you?”

“When we do the same kind of work, we make the same amount.”

“Did you have to fight him for that?”

I explained that because the previous generations of women protested and pressed for change, now I don’t have to fight, at least not as much as they did. My soapbox continued, delving into the complexities of the women’s advancement and how although great strides have been made – here’s where the girls were starting to tune out so I raised my voice – we shouldn’t take them for granted ever. I told them how women are still paid and treated differently in many professions, especially when it comes to top management, and how there are some people who want to take away a woman’s right to medical care and advice that allows us to remain independent.

“But Papa said women were taking over the world,” said Short-pants, a reference to a speech De-facto made to his Toastmasters club. His speech combined the story of renting a muscle car with a summary of an Atlantic Magazine article about the end of men ruling in the workplace. He practiced it for her so many times that she memorized it, too. “Men. Love. Cars.” She’d repeat these opening words of his speech, emphasizing each word, just as he did.

“Even so,” I said, “we have a long way to go.” I thought about the veiled women who might prefer to be uncovered, and about the atrocities against women that are permitted and promoted in other cultures. Some day I’ll need the girls to be more aware of this particular brand of religious and cultural inequity, but it didn’t have to be today. They were still getting their heads around the idea of being prohibited from voting, playing sports or simply wearing trousers.

All of this just the warm-up for an inspired cultural excursion to a little museum down the street, the Galerie des bibliotèque-de-la-ville, which happened to be exhibiting a collection of photographs of French feminist movement. Short-pants was eager to come along, Buddy-roo not so much, opting to stay at home and watch a Barbie movie that I would later try to interpret for her through a feminist lens: “See, the princess didn’t need the prince to rescue her, she had her own creative ideas and they worked together to solve the problem.”

What better way to celebrate Women’s History month than an edifying stroll through French feminist history, of which I know very little. But even if I didn’t recognize the names of the women in all those photographs, I could recognize their spirit; there was a look of determination in the eyes of every portrait we saw.

I pointed this out to Short-pants, as we walked past the framed photographs, reading the paragraph about each woman’s contribution to the feminist movement. I told her about how the simple choices that she and I count on would not exist were it not for the spirit of these courageous women. What I didn’t tell her – not yet- is how lately it feels like women’s rights are being assailed in the United States, and that ultimately having a foot on French soil may be the thing keeps her free and fierce.

“When I grow up,” she said, nodding at the photographs, “I’m going to be just as determined.”

“That’s just what it takes,” I said, hoping she never has to put her fist in the air to get what she wants. But if it comes to that – because she’s got a bit of her grammy in her – I think she’ll be up to the task.

I once worked in a cubicle a stone’s throw from a meticulous woman. I’d listen to her set up appointments with clients in the most deliberate way, confirming the time and place, clarifying the purpose of the meeting. Her desk was ordered, her language precise, and she lived by her day-timer.

One year she tried a new calendar method: after completing each task or meeting on her to-do list, she’d erase it with white-out. I could picture her pulling the little brush out of the green plastic bottle and carefully blanking out every accomplished item. Her objective: a fully white page at the end of each day.

The problem, she confessed after doing this for an entire year, was that she had no reference about what she’d actually done. If you asked – a week or a month later – when she’d met with someone or competed something, she couldn’t tell you. She enjoyed the daily satisfaction of a clean agenda, but no institutional memory to assist anyone else.

~ ~ ~

I’ve been following an on-line conversation by Gwen Bell, an internet-mentor of sorts, one of the trio behind the whole Reverb deal. I say of sorts because I have only exchanged a few tweets with her, but even from a distance she inspires or provokes. She’s exploring how to be more intimate and authentic in her web-conduct, and as a result re-ordering her on-line priorities. In a recent subscribe-only missive she foreshadowed a digital incineration, and she’s followed through. She deleted her on-line artifacts – yesterday – starting afresh with a digital tabula-rasa. She wonders what would happen if everyone she knew did the same thing.

Given that last week I wrote about my reticence to delete my mother’s email electronic information from my computer, I’m an unlikely candidate for such a digital purge. I have dozens of boxes stored with eclectic mementos in various basements of my life and it would carry forward that the things I cherish about my on-line life – one I consider rich and nourishing – are things I want to bookmark and access with only a few clicks.

I wonder, when Short-pants and Buddy-roo are older, will they appreciate the memories assembled in this epistle, or they will be insulted, angry that their privacy has been compromised? I used to roll my eyes in embarrassment at my mother’s Christmas letter. Even though never more than a line or two was devoted to me – and her friends purported to love having the news – it was always painful to read what she had written about me. The girls could revolt with a digital mutiny; by then they’ll probably have hacked my password and could easily incinerate the stories of their youth without my permission.

There are a hundred questions I’d ask my mother, if I could. And I did, but there was much she couldn’t remember. If she’d only written it down. To have a digital archive of her feelings during my childhood would be so precious to me now. When my daughters are mothers to their own children, could it be that my archives might at least amuse them, if not offer them comfort?

~ ~ ~

In college I accumulated (just barely) enough credits to have a degree in History and in Semiotics. So the historian in me thinks it’s blasphemous to delete a rich history of published content from the web. Archives are the record of a narrative. Like the diaries of Anais Nin, an on-line journal is biased, slightly (or mightily) filtered for public consumption and maybe it tells only the part of the story, but it’s still part of the important collective herstory. There’s a feminist aspect as well: the platform of blogging has enabled more women to publish without a gatekeeper; it’s hard to imagine deleting the words that have resulted from this privilege.

The historian in me also believes that some things ought never to be deleted from our consciousness. Like the Holocaust, for instance. That’s an extreme case, compared to the archives of one person’s website, but where do you draw the line? When you delete something, what are you saying? That it’s not important enough to be remembered in its original form? If it were published as a book, it would just go out of print. But there’d be a dusty copy somewhere, a future internet scholar could dig it up as a reference for a treatise on the evolution of social media. Can a closed archive, filed away in the cloud, be accessed by the next generation of historians and sleuths?

The semiotician in me, however, wants to deconstruct the discourse of this electronic medium and my attachment to my texts, starting with the word “I” which is repeated oft and means one thing to me, and an entirely different thing to a reader. “I” also means one thing now, in this current reality, and it signifies something else later, in the future, when what is now is the past.

Or does it? There are stories of an unforgiving Internet. A Google search can undermine a burgeoning career. Names like Krystal Ball and Mary Bono Mack come to mind. This New York Times article last summer got me thinking about how digital archives signal the end of forgetting:

In a recent book, “Delete: The Virtue of Forgetting in the Digital Age,” the cyberscholar Viktor Mayer-Schönberger cites…the importance of “societal forgetting.” By “erasing external memories,” he says in the book, “our society accepts that human beings evolve over time, that we have the capacity to learn from past experiences and adjust our behavior.” In traditional societies, where missteps are observed but not necessarily recorded, the limits of human memory ensure that people’s sins are eventually forgotten. By contrast, a society in which everything is recorded “will forever tether us to all our past actions, making it impossible, in practice, to escape them.” He concludes that “without some form of forgetting, forgiving becomes a difficult undertaking.”

Well yes. We ought to be given room to be young and foolish, to make mistakes and to grow into our opinions. I can think of a dozen things I said or did in college and just after (and into my thirties for that matter) that I’d rather not have to answer to now. Not because they were so horrible, but because they demonstrate questionable judgment, or the inexperience of youth. And yet, those episodes of lesser judgment were critical learning opportunities that informed the (usually) wiser me that exists now.

How can we evolve into who we are in the process of becoming if the current vehicle that records data is so very precise that it leaves nothing to the frail and vague human memory that edits selectively and makes most of our stories more interesting?

~ ~ ~

I like my current blogging practice, and I feel no compulsion to follow suit and delete any archives. But I’m interested in the conversation that Gwen and her circle are carrying on about what’s emerging as a more authentic way of telling our stories on the web. It has to do with publishing, it has to do with connecting, it has to do with being present with (or despite) technology. They’re challenging assumptions and renaming what is new media for many but already old media to them. And the internet, which has woven its way inside us, should be challenged as we grow to rely on it more and more.

For now, the body of work that is represented in this blog – which started out as a comment on my lack of institutional memory, the losing of your mind that happens after birthing children – is an important narrative for me to keep, and to keep public. But I have a new awareness: someday I might want to put forward a different part of me, or my daughters might ask to take control of their childhood stories. Then it might seem like the right thing, to take the plunge with my own digital bottle of white out. Would I be erasing history, or taking the reigns of what is to be remembered? Or would that be letting go the reigns?

The alarm goes off, but we have already been awakened by someone on the street buzzing our door to come up for the encierro. Our balcony overlooks Calle Estafeta, where we can see the bulls on the street below as they run by, so we extend invitations to various friends (and occasional strangers) to come up to watch the ritual running of the bulls. Our instructions are precise: come at the last possible moment, minutes before 7:00 when the street is blocked off for cleaning before the run begins at 8:00. The drop key, permanently tied to a long white string, is lowered through the stairwell to allow our guests to pass the locked door at the bottom of the five flights of stairs to our apartment. We usher them out to our balcony so they can watch the street as it’s prepared for the run, and we go back to bed. That extra twenty minutes of sleep can mean everything.

But before 8:00, we, too, must be up, dressed and ready to run. Not with the bulls, but between our living room, where we can see the bull-run on the television, and the balcony, where we charge out as the bulls turn the corner to run up our street. Their broad brown backs rush forward, the bells on the steers that accompany them make the soundtrack to their morning run. On a good day, the bulls are still packed together with the steers as they run toward the corrida, and a few skilled (or lucky) runners sprint ahead of them, just off to the side of their horns.

After the instant replay of the encierro and ensuing TV commentary, we rush our guests out the door and head to the Bar Txoko where many of the runners we know go to swap stories and drink ritual morning drink: Kaiku y Cognac, a sweet vanilla milk mixed with a double-shot of cognac. It so happens that the street cleaners choose that moment to clean the very patch of the Plaza de Castillo where we stand, so we are forever maneuvering our conversations around to accommodate the sweepers and hose-masters who are kindly cleaning up after the previous night’s party, only part of the party that goes on for nine days. These guys are the true heroes of the fiesta, constantly cleaning the streets of the gray goop that is a mixture of beer and wine and urine and puke that accumulates during the week.

A quick drive-by to greet the brothers Carmelo and Fermín at the newsstand where we buy a paper with the photographs of the previous day’s bullrun and bullfight, and then on to our breakfast club, a long table set up in the street where friends meet to eat greasy eggs or pochas or bull stew. Such nourishment can be acquired anywhere, but we always take it here to be in the company of a few very distinctive jota singers who serenade us with traditional Navarran ballads with poignant lyrics (like wishing to be an ivy vine in order to crawl up to your window just to watch you sleep).

The midday rituals have some variation, but might include a long meander through the city streets in search of the Gigantes, a troupe of eight giant figures that represent the kings and queens of the different continents of the world. This year I saw them no less than a half-dozen times, their towering figures turning side-to-side in an enchanting dance in step to the music of the high pitched txistulari pipers. The Gigantes are at least three times the size of the men who carry and spin them for hours every morning; occasionally you see the figures stop and appear to stand still in the street as the men slip out from under the robes and duck into a nearby bar for a rest and a drink. In the meantime, parents carry their toddlers up close to examine the clumps of pacifiers that dangle from the wrists of the giants. When Pamplonese children are ready to stop using their binkies, they give them up to the Gigantes. This is a ritual I find priceless; I can imagine the conversations between the child and parents as the fiesta approaches, the building up to the ceremonial hand-off of the prized pacifier, tying it to the enormous hand of their chosen Gigante. I had a fine childhood, but if I could do it over, I’d do it in Pamplona.

This is the moment that seems to have become a ritual for me, when I wonder why Short-pants and Buddy-roo and De-facto are not there with me, swallowed by the sea of white and red and music and magic. I have kept the fiesta San Fermín as my annual escape, but each year I wonder, how can I not share this with them? For how long should it remain my getaway with my girlfriends and my “Pamplona friends?”

The fiesta is embedded with rituals, those offered up by the proud Basque culture, the noble Taurino traditions, not to mention those that my friends and I have invented for ourselves in the years we’ve been attending. Like our Hemingwayesque ritual of taking two days in the green Navarran countryside just prior to the start of the fiesta, when my girlfriends and I stay at our favorite B&B. Here we slide into the Basque culture, nibbling our favorite asparagus and drinking homemade Patxaran. We retire early and sleep in, padding the sleep bank before the fiesta quickly depletes it. In the morning, we take over a table to create masterpieces of jewelry we bead together with small plastic bulls that have been borrowed from Tequila bottles from a Mexican Kmart. Our own spontaneous designs that every year we make, wear and give away: the running of the bull-earrings.

Each day in Pamplona, a brief afternoon nap rejuvenates us to make the run for sandwiches and cookies (and a chilled bottle of Rosado) to carry into the corrida for the post third bull snack. The bullfight itself is a remarkable ritual, a 3-act drama of skill, bravery and intimacy. Though I am far from an aficionada, there was one moment this year that moved me to tears: the matador raised his hand to stop his cuadrilla as they came to his aide. He knew he had done his work well, the bull was ready to die, and so he stood back with his hand raised, and waited for the bull to fall. It happened swiftly; a good death, with grace and honor, the kind we all hope for. It made me think of my mother, of course, how nobly she fought during the last year of her life, and the dignity of how she finally let go.

Each year I painfully extract myself from my friends and the festivities and leave to be with Short-pants to celebrate her birthday, which falls the day before the end of the fiesta. I could have gotten a pass this year, I suppose, having done my duty with the big party last month, except that I want to be with her on her birthday. As hard as it is to leave the fiesta early, the return is always a relief. This year was no exception: I was as glad as ever to see De-facto and the girls waiting for me at the train station, waving wildly when they spotted me.

“I missed you so much,” cried Short-pants, throwing her long arms around me. “Where did you get those white shoes?” said Buddy-roo, who notices everything, especially if it has to do with new items of clothing or jewelry.

Over the last few days, the final post-fiesta rituals have been enacted without fail: the detoxification, the redepositing of sleep in the bank; the gradual removal of those haggard circles under my eyes; the return to an exercise regime to address the abnormal number of carbohydrates consumed at the fiesta; the washing of the whites, which requires the special formula of
bleach and Coca-Cola (this tip given to us by a Spanish grandmother we met in the supermarket) to get that gray goop off the bottom of all my white jeans; the telling of stories (only mildly toned down) and the fierce expression of gratitude toward De-facto, who always lets me run just as far as I need.