The Party by Colin Dale

     

It is not enough to be busy.   So are the ants.
The question is: what are we busy about?   –Thoreau

      Today’s prompt is the party, not a party.  The party to me means a special party, a party to end all parties.  We’ve all been to many a parties.  But to satisfy today’s prompt–the party–I felt I had to go into the crawlspace of my memories to see if I could find some party I’d been to that was the Mother of All Parties.  Luckily, I didn’t have to spend too much time in the crawlspace.

      Not only did I find my personal Mother of All Parties without a lot of rummaging around but also I found, in remembering my one and only the party, the baseline from which I’ve taken the measure of the last three decades of my life.

      Go back with me for a moment to February 1980.  Jimmy Carter’s in the White House.  When not trying to figure out how to send this thing called a fax, we’re playing an addictive game called Pac Man.  In bookstores, it’s Sophie’s Choice.  On Broadway, it’s Evita.  In movie theaters, it’s Raging Bull.   But join me on the 10th floor of the Coachman over on Downing across from Queen Soopers.  It’s a little after 8 and I’m coming home, tired, from somewhere.  I walk into my apartment, the one I share with my partner Jim to find the place usually dark–not one light left on.  That’s unusual.  I know something’s wrong: there’s a kind of creepy aliveness in the dark–like stepping into a lightless grizzly den.  But then lights throughout the apartment go on.  I’m standing inside the front door looking at a place packed to the sidewalls with people, all looking at me and yelling, “Surprise!”

        It’s my 35th birthday and Jim has schemed the Mother of All surprise parties for me.  When I say the apartment is packed, I mean it is PACKED.  Jim and I work for one of Denver’s now-long-gone Capitol Hill theaters and here in our apartment is the acting company, directors, staff, costumers, carpenters, and crew.  Jim’s day-job is with a 17th Street bank; I know Jim’s co-workers and they’re here, too.  My day-job is with a medical supply house; Jim knows my co-workers and he’s invited them as well.  Add to the mix other assorted friends, spouses, partners, Coachman neighbors, and maybe–who knows–a half dozen off-shift Queen Soopers’ employees with nothing better to do. 

      The morning after my the party when Jim and I step out of the bedroom and out onto the battlefield to look over the wreckage, he tells me I had–not all at once, of course–eighty-one people stop by my birthday party.

      Eighty-one.

      Now let’s look in on an evening in February of this past year.  It’s my 67th birthday.   No surprise party.  I’m celebrating not at home but at a restaurant, and not with eighty-one people but with three.  And I’m feeling good.  Not because I’m drunk–I gave that up in ’98–but because I’d recently broken my arm and I’m floating nicely on an och-see-COH-dun cloud.  I know even without the narcotic I’d be feeling good, because I’m celebrating my birthday in the way I’ve come to enjoy celebrating birthdays lately–for that matter, all get-togethers: with a few good friends.

      Remember I said in looking in the crawlspace of my memories I’d found not only my one big the party but also how that one the party has remained a baseline from which I’ve taken the measure of the last three decades of my life.  You might guess that when I would look back over the years–at birthdays in particular–I would get a little upset to see the attendance shrink–from eighty-one in 1980 to three in 2012.  I did the math: that’s a loss of 2.4375 persons per year.  (I only had three friends at my last birthday party.  If the average holds, I should look forward to only a partial person–a .5625 person–this year.)

      It bothered me–once–this decline in attendance.  Worse yet, back when I was drinking, I stupidly interpreted the numbers as a decline in popularity–and that didn’t just bother me, it depressed me.  What I could possibly have done to scare away people, at the withering rate of 2.4375 persons per year?

      The truth is in 1980 I was the victim of what I now call my stupidly busy days.  Between my day-job selling bedpans and syringes, my night-job at the theater trying the best I could to be someone else, working in my off-hours to honor a grant I’d received to write a half dozen children’s plays, striving to be attentive to what was then a fairly new relationship with Jim, making sure I logged enough hours at the Foxhole and at this new place called Tracks, serving on the board of the alphabet-spare GLC, helping to put together a fundraising footrace for the then-fledging AIDS Project, and drinking way, way, way too much, my life at 35 was a runaway train.  I was living the illusion of multi-tasking before anyone had even coined that fanciful term.  I was having fun–but of course I was much, much, much younger.

      I was having fun, but I was also going crazy.  My stupidly busy days.  Days, as I look back on them now, with a mirage of significance but without much lasting substance.

      It’s now 2013 and I’m still busy, but looking in from the outside you’d never guess it.   I call these days my wisely busy days.   I’m out with two or three friends.  Or I’m home. Out or home, I’m happy.  My the party of 32 years ago, when I think about it, was not a slow descent into unpopularity, with unpopularity’s nasty side effect loneliness.  Instead, my the party of 32 years ago was the beginning of what I like to think was my ascent to maturity, with maturity’s priceless bonus feature solitude–elective solitude.  With maturity has come enough contentment sometimes to choose solitude and sometimes to be with friends.  In yesterday’s stupidly busy days I was exhausted and my senses were blunted.  In today’s wisely busy days I’m alert.  It’s much better now.

      And so there you have it: my the party.  Today’s prompt has given me a chance to take a break from making up silliness and to stick close to what good storytelling can and maybe should do and that’s to share a little bit of the private me.   Today’s prompt has given me a chance to tell you about my the party of long ago, an evening I continue to think of as the beginning of the best days of my life–my wisely busy days–and why, when yesterday afternoon I typed the first sentence–“Today’s prompt is the party; not a party”–I thought of my hero Thoreau and his saying:

It is not enough to be busy.   So are the ants.
The question is: what are we busy about?


© 7 January 2013

About the Author



Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

Weather by Colin Dale

Just before leaving home, for the fun of it, I checked the temperature in Elsinore, Denmark. The castle in Elsinore, you recall, was Hamlet’s stamping ground. Well, at 1 PM our time, or 9 PM Denmark time, the temperature in the courtyard of Hamlet’s old castle was 9 degrees Celsius, or a comfortable 48 degrees Fahrenheit. That’s about right for a Danish evening in June. Which makes me wonder if Hamlet ever had to put up with a string of super hot days like we’re having here in Denver.

Yet it was Hamlet who said, ” . . . there is nothing either good or bad, but thinking makes it so.”

I grew up in the Land of Ouch! I grew up in the Land of Ouch! and it has made me the man I am today, for better or worse. My mother and father were perpetual sufferers. They lived afflicted by demons, imagined, or if not imagined, then at least fed and made fat by my parents everyday fears. Now, before I say another deprecating word about my parents, let me say that I’m now old enough to once again respect and love them. I’m old enough to have made it through those long middle years when it’s common and, in fact, expected to loathe one’s parents. I see them now as the long-suffering strivers they were.

But long-suffering is the operant phrase. Long-suffer they did, and cry Ouch! at the most unexpected of times and at the most inconsequential of bad moments. As a kid growing up around my mother and father, I grew conditioned to vaulting from my room at all hours at the sound of Ouch! Or Damn! Or This is killing me! What I’d find arriving at the ambush site, time after time, was my mother or my father looking helplessly at a dropped slice of toast, or a slightly larger-than-usual phone bill, or a tabloid story of a crime wave happening a hundred miles away. I continued my Pavlovian response to my parents’ homicidal demons until my breakaway moment when, at 21, I allowed myself to be drawn, pretend-kicking, into the Army.

What, you have every right to ask, does all this have to do with weather? I’ll admit there’s some connecting called for here. To do that, I have to introduce what I call the Curmudgeon’s Bill of Rights . . .

The Curmudgeon’s Bill of Rights is a catalogue of entitlements earned when someone has lived at least three score years. You can tell if someone is invoking his Curmudgeon rights when he (or she) starts by saying, “When I was growing up, people didn’t [fill in the blank],” or “You’ll find out when you’re my age that [fill in the blank],” or “People today have no respect for [fill in the blank],” or some other clue of curmudgeondom.

But so far, you’re thinking, you’ve only told us about the weather in Denmark. True, but I’m getting close.

There’s yet another right, available to curmudgeons but rarely invoked–Clause 11.4–and that is to debunk anything said under the Curmudgeon Bill of Rights. Or, for that matter, to debunk anything said by anybody, no matter his or her age–any Ouch! or Damn! or This is killing me! said under the First Amendment.

Confession time: I subscribed to Clause 11.4–the debunking the debunking clause–of the Curmudgeon Bill of Rights long before I was eligible–soon after I left home, in fact, eager to escape the Land of Perpetual Complaining I’d grown up in.

And now, the long-awaited convergence: weather, with everything else . . .

I am tired of hearing people complain about the weather. Now, I’m not talking about people who are genuinely suffering, ill, or living in really stuffy, airless houses. No, their misery is real. I’m talking about 90% of the people I meet every day, my friends and neighbors, who seem to take perverse pleasure in kvetching endlessly about the heat. When I hear from these people–“Oh, this heat is killing me,” or “I’ve never been so miserable,” or “When will this hot weather end?”–all I hear, from my childhood, is Ouch! or Damn! After all, none of my friends or neighbors–ages young to curmudgeon–is hammering up plywood sheets against a Katrina or praying Godspeed! for a fishing crew lost in a Perfect Storm. For my reasonably healthy friends and neighbors it is merely hot. Stinking hot, yes, I’ll admit, it is stinking hot. But, for these reasonably healthy people, it’s not lethally hot. Or toxically hot. Or death-dealingly hot. For my friends and neighbors who, for the most part, go from one air-conditioned bubble to another, only occasionally sampling the real world, these temps in the 90’s and low 100’s are hardly going to make the black camel kneel down. They’ll survive this, my pampered friends and neighbors, to kvetch–a very few months from now–about the winter: “This cold is killing me!” or “I hate the ice!” or “Don’t we have enough snow already?”

I began by saying that growing up in the Land of Ouch! made me the man I am today. My impatience with the hale & hearty and their relentless complaining about the hot weather is neither right nor wrong. It’s just how it is. And who I am. It’s me invoking Clause 11.4: my debunking the debunker’s right.

Now, some of you are probably ready to hit me with That’s easy for you to say! In my defense, I’ll admit I feel this heat as much as any of you. I walk most everywhere. I drive with the air-conditioner off. I live in an un-air-conditioned house which, now that I’m retired, I’m in 24/7.

Okay, I’m done kvetching about spoiled kevetchers. I’ll back off my molly-coddled friends and neighbor and let them get back to complaining about the weather and everything else that simply is.

I do, though, apologize to anyone here who might be ticked off by my rant against Ouch! What I would do, if I’ve ticked off anyone, is encourage you to say To hell! with what I’ve said–which is your right–if you’re old enough–under the Curmudgeon’s Bill of Rights: another rarely invoked clause (Clause 17.7): to say To hell! with even my self-righteous complaining, otherwise known as the debunking of the debunking of the debunking clause.

Remember Hamlet, the guy who said, ” . . . there is nothing either good or bad, but thinking makes it so”?

Well, I’m realistic enough to think even Hamlet, after a few weeks of temps in the 90’s and low 100’s, in his starched ruff, brocade doublet, and wool pumpkin pants, would have said, “All the thinking in the world won’t help, not when it’s this freakin’ hot!”

© 9 August 2012


About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

Memorials by Colin Dale

Think back to a time in your life when you are up in front of a group of people, all eyes are on you, you know you have to remain up there in front of these people for a certain term — ten minutes, twenty minutes, a half an hour — you know too (and this is the painful part) you’re making an absolute fool of yourself; you know you’re making a fool of yourself, but you can’t stop — one of those times you wished to god you were anywhere else on earth other than up in front of these people. These are the sorts of times when embarrassment comes flooding in not after, but those worst-possible-of-all times when embarrassment takes hold while whatever it is you’re doing you’re still doing, and you can’t stop — when a voice inside your head — a voice that sounds a lot like your own voice — whispers, “Oh lord, I am really making an ass of myself.”

This may seem an odd introduction to memorials, but it’s doorway into a story about me and a particular memorial service and a lesson I badly needed to learn.

Do you remember my story about burying a bull? How, before the cowboy showed up, I had been reading a Patrick Kavanagh poem, the first two lines:

Me I will throw away/Me sufficient for the day

Hang on to those lines. I’ll close with them in a minute. First, though, memorial . . .

One of the advantages of reaching a certain age is most of your stories go back so far you’re safe in naming names — who’s going to care? This story goes back to the mid-’80’s when I’d been in Denver for a while. At the time I had a job working as the delivery guy for a small medical supply house, going around town delivering disposable syringes, plaster bandage, oph-THAL-moscope batteries and cotton balls.

But this story — even though I just said it was — is not really about me. Enter, now, on stage, the next actor . . .

One day after deliveries I returned to the warehouse to I find a new employee working there, Marc — Marc, not with a “k” but with a “c,” like Marc Antony. But since this story is not about Marc, either — at least not for the my purpose today — I’ll condense these surface events:

Yes, I fell in love with Marc. Marc, although affectionate — and as hard as it is for me to say it — he never really fell in love with me. As a result, we never moved in together — probably a good thing. However, for a year we were a pair. Our friends thought of us as a pair.

Condensing this part of the story even more rapidly now:

In time, Marc’s affections reattached themselves elsewhere. He and I saw less and less of each other. He established what looked like a permanent relationship with a fellow I didn’t know. Then, I heard through mutual friends, Marc was diagnosed HIV-positive. His partner left him. Marc’s father, knowing that his son and I had been friends, contacted me, told me Marc was in hospice and said if ever I would want to visit him we might go together. We did, until dementia took Marc three or four months later.

Again, this is not about me — well, of course it is, but not in a flattering way — what I mean to say is, it’s not about me the hero. The story is about a lesson learned — and only in the sense I’m the guy who had to learn that lesson — only in that sense is it about me. Otherwise, it’s more an Everyman story, a growing up story, the sort of story I’m sure a number of us have lived through.

Some months after Marc’s death, a memorial gathering was announced. His father honored me in inviting me to speak. Our driving together to and from the hospice must had given Marc’s father a fair idea of how much his son had meant to me.

Marc’s family was a broken one, mother and father divorced. A scattered family, too, family all around the country. I envisioned a small memorial. Maybe Marc’s mother, maybe one or two of his brothers, coworkers from the medical supply house, a few of Marc’s local friends, those his father had been able to contact.

Large or small, it would be a memorial requiring certain decorum. A touch of humor wouldn’t necessarily be out of place, depending upon the tenor of occasion the family might be imagining, and also the relationship of the speaker to Marc.

In the days leading up to the memorial, I’d given thought to what I might say, without putting anything down on paper. The memorial was late on a Saturday afternoon, so I resoned I could easily set aside most of that day to getting my thoughts together. If I’d decided one thing in advance, though, it was I wanted to tell people what Marc had meant to me — a hint, without being revealing.

Saturday morning I started putting thoughts down on paper. On index cards.

Also Saturday morning — about mid-morning — I had a first drink. I was determined to stay clear-headed. However, that first drink led to more. I kept scribbling on my index cards, but the more I drank, the more maudlin my intended remarks got. Before long I was adding anecdotes of some intimate stuff Marc and I shared — not carnal stuff, but meals Marc and I liked to cook for each other, our favorite places for long walks — that sort of intimate stuff. I put new batteries in my boom box and queued up a number of cassettes with some of Marc’s and my favorite songs. Time now short — and me already getting all choked up on my nickel sentimentality — I added a few lines of cheap poetry. I’d come a long way from early morning, when I had made a plan to hint, but not reveal, all the way to cassettes and cheap poetry.

On the platform in front of everybody that afternoon, I was an embarrassment. I was an embarrassment to them. I was an embarrassment to me. As I shuffled through my index cards, I could tell by the creaking folding chairs I was confusing everybody. Playing the cassettes, I found the lyrics creaking into the big, hollow room to be unintelligible. I looked out on 30, 40 stone faces each asking, What the hell is going on? Nearing the end, and the cheap poetry, I was — predictably — in tears. I was of course the only one in the room in tears. I finally finished, in a room of people all wishing they were somewhere else.

That’s when I learned my lesson — although I wouldn’t be able to put it into words for some time. I’d had tried to make Marc’s memorial into something about us. Worse yet — far, far worse yet — I had tried to make Marc’s memorial into something about me. I had tried — and failed, thank god — to contort Marc’s memorial into autobiography. And so . . .

Me I will throw away/Me sufficient for the day

Not knowing that’s what I’d been doing, I had been trying to become the centerpiece of Marc’s memorial; instead I ended up its fool. It took 20 excruciating minutes for me to learn a much needed lesson: that I needed to give up trying to be the center of other peoples’ experience — that if ever there is a time and place — perhaps one of the few times and places — a person deserves to be the center of everything, it’s his memorial.

Me I will throw away/Me sufficient for the day

About the Author      

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

From the Pulpit by Colin Dale

As a child and young adult I was spoken to from two pulpits. The one was a Roman Catholic pulpit. The other was an Episcopal pulpit. My father was a Roman Catholic. My mother an Episcopalian. My father Bill hadn’t realized when he asked my mother Anna to marry him that as far as his Roman Catholic church was concerned the only proper marriage was between one Roman Catholic and one Roman Catholic. In other words, a same faith marriage. Nevertheless, the pastor of my father’s Roman Catholic church, Saint Monica’s in Manhattan, consented to marry Bill and Anna–but not before humiliating my Anna in exacting from her a promise to raise her children as Roman Catholics, in effect invalidating her faith. Compounding his sin, the pastor at Saint Monica’s informed Bill and Anna the marriage would have to be held quietly, privately, not in the church sanctuary but in what I must assume was the less holy ground of rectory house next-door, in effect telling Anna she was a touch less worthy. Perhaps even a dangerous. Anna, my mother, a supremely gentle woman, never forgave Saint Monica’s pastor for the insults. Nor have I.

Now this may sound like a real downer, this story I’ve started to tell, the beginning of a relentlessly bitter memoir that might be titled How Faith Fucked Me Up. But there were deeply rewarding ups along with the downs in the years of my growing up in my relationship not only with my father’s Catholic pulpit but also with my mother’s Episcopal pulpit. It’s the rewarding ups I want to tell you about. To do so, though, I need to talk about these pulpits as metaphor but as people–about the men who commanded these two pulpits and who came to represent in my mind contrasting theologies not as hard-ass doctrine but as three-dimensional human beings. And as much as to this day I scorn the pastor of Saint Monica’s, I’m pleased to say in the years of my growing up I eventually found in the two pulpits–the Catholic and the Episcopal–men of every stripe: the compassionate and the cold, virtuosos and sad-sacks, comics and grouches, altruists and narcissists, scholars and fools. The variety alone bolstered my faith, if not in god, then certainly in humanity. It amused me too to see that these men of every stripe sorted themselves pretty much equally between the two pulpits, informing me neither faith was in full possession of the virtuosos and scholars. Nor, for that matter, of the narcissists and fools.

I’m the younger of two boys born to Bill and Anna, and there’s a 14-year spread between my brother and me. Good by her word, my mother permitted my brother and me to be raised as Catholics. When I was born, the family was no longer living in Manhattan–no longer in Saint Monica’s parish. Home when I was born was The Bronx–Pelham Bay–the rabidly Catholic Italian, Irish, and–in my case–dissonant Welsh–northeast corner of The Bronx. My father, my brother and I attended what was for its time a mega-church, populous–a hefty congregation needing six full masses on Sunday mornings–a church with respectable affluence for what was a working-class neighborhood. The church was Our Lady of the Assumption–which, as a kid, I thought was strange. Our Lady of the Assumption? I thought that was like saying Our Lady of Your Guess is as Good as Mine.

In any event, OLA (as it was called) was too big for me to ever get to know any of the priests as people. The Catholic priests I’d meet and learn to admire–to even regard as friends–came along later. While I was a kid going to OLA the priests were all two-dimensional, known to me only by the attributes neighbors would gossip about–such as OLA’s pastor, Monsignor Francis Randolf, the Tippler, sometimes called Randolf the Red-Nosed Pastor, whose rambling Latin on Sundays was sloppy and slurred; and Father Mario Giordano, for whom English must not have been even his third, fifth, or tenth language, the best bet for Saturday confession, we kids knew, because in Father Giordano’s confessional even a confession of genocide would draw as penance only three Hail Marys, one Our Father, and a promise to go forth and do genocide no more.

All the while, my mother was attending Saint Peter’s Episcopal Church, a founded in 1693, a handsome Gothic Revival structure with a piercing copper-plate spire and picture-postcard cemetery, still in use back when I was a kid, but with scores of wafer-thin, leaning Revolutionary War headstones.

Whereas my father and I would shuffle off Sundays to OLA–my brother, a capable right-fielder, had already exchange Sunday morning worship for city-league baseball–while my father and I would shuffle off half-heartedly to OLA, my mother would be worshipping with comparative sincerity at Saint Peter’s. My mother, unlike my father, really believed. I didn’t know back then if there was such a thing as real faith, but if there was, my mother had it in spades. She never proselytized; hers was a quiet faith. And the depth of this faith led my mother into all sort of available involvements at Saint Peter’s–the choir, the altar society, the food bank. I can still see her at the Smith Corona typing up mimeograph stencils for the Sunday bulletin.

These volunteer activities in turn led to her making a great friend of Saint Peter’s rector, Father Jeremy Brown. Father Brown was my mother’s idea of a priest–warm, kindly, charismatic–the sort if you’d ask Central Casting to send over a lovable priest, they send Jeremy Brown. Brown would have dinner with us. In Brown, I met my first fully human cleric. It was Father Brown who told me, to satisfy my curiosity, it would be safe for me to go along with my mother to an Episcopal service–which I did, nervously, fearful the next time I stepped into Our Lady of the Assumption I would explode in flame.

When I was in my late teens my father lost the only job I’d ever known him to have, a foreman in a lower Manhattan factory. To help until my father could find another permanent job, Rector Brown invited my father to work in Saint Peter’s ancient cemetery. Although it paid modestly–for which my father was grateful–the work was tough, not just physically but emotionally–graves were still dug by hand at St. Peter’s, and, as my father learned, digging adjacent graves often made for disturbing discoveries.

When it became obvious this work was taking a damaging toll on my father, Rector Brown reached across the aisle–or I could say nave–to a Jesuit friend at Fordham University–Fordham University, a great concentration of Catholism. Brown secured for my mother a part-time typist’s job in Fordham’s philosophy department. Again my mother drilled down, volunteering, doing far more than what was expected of her, and in doing so, endeared herself to the Jesuit faculty. It was only a matter of time now before we had Jesuits at our dinner table. Jesuit philosophers no less–occasions which, for my mother with her finishing school certificate and my father, a high school drop-out, made for challenging suppertime conversation.

The youngest of the Jesuit philosophers was Jack Balog. Father Jack wasn’t much older than me, or so it seemed. He and I became great pal-around friends. At my age I would have to reach way up to hold my own in conversation with Father Jack, but fortunately, because his own Jesuit training was still fresh, Father Jack had only to reach a little ways down so as not to embarrass me. Father Jack and I did typical guy things–concerts, movies, bowling, always ending our evenings at the Steak & Brew near campus. A couple of beers and Jack was honest even about his concerns about celibacy. A couple of beers and I was undeterred in my dishonesty about my sexuality. Retired today, Jack lives on a university campus in Eastern Pennsylvania. I’m out now to Jack. We’re still friends.

But the fellow I want mostly to tell you about is Father George Maloney. Father Maloney–or Father George as we all called him–was the chair of the Philosophy Department. Father George was easily two decades older than me, so an uncle figure. He was also a man whose IQ dazzled but without a hint of pretention. Father George’s specialty was Eastern Orthodoxy, a subject on which he authored quite literally two or three dozen books (many of which I have, warmly inscribed, on my bookshelf today). Unlike my pal Father Jack, though, Father George, Father Jack’s boss at Fordham, was an austere man, in appearance as well as in character. A lifetime of extraordinary self-discipline, strict vegetarianism, and long, long-distance cycling had give Father George, from a distance, rail-thin and with a wild salt & pepper beard, a somewhat disquieting look. It was only when you got up close, across our dinner table for instance, you could see how his eyes said you’ve no reason to be keep away. Nonetheless, unlike Father Jack, I would never have called Father George a pal-around friend. Our relationship was and remained mentor and pupil.

I’ll close with a snapshot of Father George, one of many years later. Father George remained at Fordham as chair of the Philosophy Department. I went off to college, got my B.A. in ’66, then went into the Army (having screwed up and taken R.O.T.C.–another story for another Monday), got discharged in ’70, worked for a newspaper in New Jersey for a few months, quit, discovered Colorado and snagged my M.A. at Western State in Gunnison, went back to New York for a year to help pout as my father slowly disappeared into dementia. I then returned to Colorado–this time to Denver and D.U. It was at D.U. that I met Jim, the young man who would be my partner for a decade. To collapse the tale, after a year Jim and I lost interest in D.U. We settled into an apartment in Capitol Hill and tried to keep it together working as waiters in a number of disappointing restaurants around Denver. Discouraged, I suggested we try our luck in my hometown, New York. Arriving, already nervous about the visibility of a love that dare not speak its name, Jim and I found it too, too uncomfortable living with my mother. Father George, though, over for dinner, spotted our distress and asked if we would like to come live at no cost, albeit temporarily until we could a place of our own, with the Jesuits on the Fordham campus. All of a sudden Jim and I were thinking this love that dare not speak its name–if we were to move into a Jesuit dorm–this love might just start hollering in the hallways. Anyway, Jim and I met with Father George. “I know what your concerned about,” Father George said. “Don’t be. The way I see it, God loves all love.”

And so Jim and I moved in with the Jesuits. We found ourselves in a four-story dorm full of Jesuits, mostly philosophers, many from Eastern Europe and the Orient with absolutely no English. Ours was an incredible experience, living in the Jesuit dorm–but that brings me to the threshold of another story, another story for another Monday.

Father George Maloney lived a good, long life, retiring not all that many years ago to a monastery in Southern California. I would phone every three, four months and we would chat. I never did get out there to see Father George, although I had the best of intentions. Then, last year, I phoned to learn that Father George, at 96, had died.

I grew up with two pulpits. Today I have none. I’m not sure if I’m any the worse off for that. I am sure, however, I’m grateful for the two pulpits–the Catholic and the Eposcopal–I had in my childhood and young adult years, not for pulpits themselves but for the lifelong friends they released into my company.

About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

The Wisdom of GLBT Identity by Colin Dale

I find it appalling to think there might be such a thing as a GLBT identity so distinct and so self-sufficient that it might give birth all by itself–an immaculate conception, if you will–to anything resembling reasonable wisdom. The beginning of a rant? It sounds like it, doesn’t it? My defense is to say the convoluted drivel that follows is only about me. Nothing I write is a prescription for others. I claim no high moral ground. That said …

At first sight, I did not warm to today’s topic. GLBT smacks of being a category, or an amalgam of categories. Categories and I don’t get along. We never have. Even though I’ve been known to hide in some.

I started this morning with my favorite fallback trick: the dictionary, to lay down some consensual understanding of the two key terms–wisdom and identity. These from the American Heritage Third Edition:
       Wisdom 1. Understanding what is true, right, or lasting. 2. Common sense; good judgment. 3. The sum of scholarly learning through the ages.
       Identity 1. The set of characteristics by which a thing is recognized or known. 2. The set of behavioral or personal traits by which an individual is recognized as a member of a group.

I next shrunk these down and personalized them:
       Wisdom: the sum of my personal learning during all the years of my life, and . . .
       Identity: how I’m recognized or known.

From the start I saw a trap in today’s topic: the wisdom of GLBT identity. Walk blindly and we may fall into believing there’s some all-consuming identity, GLBT, out of which a unique, remarkably dedicated wisdom springs.

I dispute this, that GLBT is an all-consuming identity–although I have friends who brood endlessly about being G, or L, or B, or T. Instead I see each of us as a tightly bundled collection of lesser identities, GLBT being one of those lesser identities, and the collection or bundle being our aggregate, or overarching identity.

I dispute as well that wisdom–at least any wisdom worth its salt–can ever be the product of a lesser identity only. To qualify as real wisdom it must be the product of many if not all lesser identities, a compliment to our overarching identity, an inexplicable brilliance greater than the sum of its parts.

Does this sound like a lot of academic b.s.? It does to me, too. However, casting good judgment aside, I pontificate on …

For a person to live as though he or she were in possession of one narrow all-consuming identity out of which all necessary wisdom might arise is to live as a human monoculture. It’s to live a life of some simplicity, yes, but also to invite dangerous vulnerabilities and the risk of reaching the end only to wonder what has been missed.

It’s worth reiterating before I continue, I claim no moral ground, neither high nor worldly-wise. As I make these pronouncements, I remain fully aware I’m as much of a plodder as the next guy. But, you see, for me …

I can’t parse my identity. My identity is a sentence whose predicates, subjects, clauses–dependent and subordinate–must all be on hand if I’ve a chance of making any sense–to myself or to anyone else. Am I a G? Yes. But I’m more than just a G. I’m a whole alphabet. G is just one of my lesser identities, one that now and then insists on elbowing its way to the front, but just as often is content to take a seat in the back row.

Remember the piece of the poem by Patrick Kavangh I included in last week’s story about burying a bull? the poem that says “To go on the grand tour/A man must be free of self-necessity”? To live in a singular identity is to perpetuate a self-necessity.

This notion was dump-trucked on me 15 years ago when I realized I had a drinking problem. I should say I have near absolute respect for AA, although in trying to achieve a lasting sobriety I tried many programs. Undoubtedly, though, I relied most heavily on AA. One bit of AA dogma that troubled me from the get-go was once-an-alcoholic-always-an-alcoholic. This had the stench of an all-consuming identity. I rejected this, but to be seen as a good 12-stepper I kept it to myself. I stopped drinking in 1999 not because I finally acquiesced to some dogmatic, everlasting identity–that of alcoholic–but because I just did. For me, as Nick Carraway says at the end of Gatsby, the party was simply over.

Caveat: AA with all of its dogmas and insistences has worked for countless people, and I vigorously applaud that. Again, in what I’m saying this afternoon, I’m only talking about me. And yet …

For me, had I gone the distance and assumed an all-consuming identity as alcoholic-for-life I would have had to one day rid myself of it, of this self-necessity, in order to go on my grand tour. Now, did I gain wisdom in my AA experience? Absolutely. But that wisdom was long ago poured into the pot, stirred around until today it cannot be spooned out and dumped into a saucer as the specific wisdom born of my time in AA. It’s now part of my overarching identity.

The danger of clinging to tightly to a single identity–of fostering a self-necessity–was shown to me only last year. I spent most of my adult life as an actor, allowing that one role to become (sneakily) an almost all-consuming identity. A year and a half ago when I retired from the Shakespeare Festival and in effect partially retired from acting–and began to look for a new ways to discharge creative energy–I was surprised to find the transition excruciatingly painful. I hadn’t realized how tightly I’d embraced my actor identity. Seeing myself as an actor had become a self-necessity. And in retiring I was hoping to set out again on yet another grand tour. I pretty quickly realized I had to rid myself of this all-consuming actor identity, this singular, limiting, debilitating self-necessity.

To my strange, twisted way of thinking, to be free of any singular identity is not to become nothing, but to open oneself up to the possibility of becoming everything. It is, as the poet said in speaking of living a life without straitjacketing identities, to live life as an epic poem.

____

And so, in closing, I’m not able to speak honestly about any chunk of my conglomerate wisdom that’s the result of the G of GLBT. There is some, undoubtedly, but it has long since been mixed in, blended, homogenized–more importantly, harmonized with the whole of my patchwork wisdom.

____

A footnote? I’d set out today to be brief, and I think I’ve succeeded. I looked back over my previous stories, and discovered that I’ve been averaging 1,600 words. Last Monday’s filibuster about burying a bull topped out at 2,191 words. Today’s story is a mere 1,100 words–which for me is a piece of haiku.

© 3 December 2012

About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

Mayan Pottery by Colin Dale

What can you tell us about Mayan pottery?

Well . . . as a politician might say . . . I’m glad you asked me that question. Before I answer it, though . . . as a politician might say . . . let me say a few words about the question.

The question is a ruse. A feint. A curveball. If I thought for a moment I had to tackle it verbatim–to actually say something about Mayan pottery–I’d be at a total loss. A question like What can you tell me about Mayan pottery? is not meant to send us running to the library. Or to Google. It doesn’t expect we know much at all about the Mayans, let alone about their pottery. I’m reasonably sure the Mayans had pottery, but to come up with a story for today, I didn’t check. For that matter, they may have had Tupperware, but I didn’t check that either.

Yesterday afternoon (right after the Broncos beat the Ravens) I sat down at my laptop but was completely idea-less. All I felt reasonably sure of was . . .

Ruse. Feint. Curveball. That’s what this topic Mayan pottery is. It’s a prompt, that’s all, Mayan pottery, a prompt to get me thinking–to get me thinking creatively. I’m not a Mesoamerican anthropologist, not even an armchair one, so I might as well, I figured, go off on some fun romp with this topic Mayan pottery.

So, after supper last night, Sunday, I started playing around with anagrams. Pretty quickly I discovered that the two words Mayan pottery do not lend themselves to a mother lode of good anagrams. Twelve letters. Six consonants: m, n, p, t (twice), and r. Four vowels: a (twice), o, and e. And y (twice)–a sometimes vowel trapped inside the body of consonant.

Using the twelve letters that make up Mayan pottery, I started recombining them this way and that, hoping I’d find at least one good anagram–and, in doing so, find an idea for today’s story. Before too long I came up with A Petty Romany, so, I thought, I could make up a story about the lack of generosity among gypsies, about how small-minded gypsies can be. But, without being able to do a lot of research–something, at 9 pm last night, I didn’t have time for–I couldn’t possibly today tell you today much about gypsies, about how stingy or small-minded they are.

So, I looked for another anagram. Trying more rearrangements of the twelve letters of Mayan pottery, I came up with Many Are Potty. I thought, well, rather than saying something politically incorrect about gypsies, I could write something about to how addlebrained most of humanity is. If you’re going to be politically incorrect, you might as well spread the insult around.

Now, you might be thinking–as I was last night–finding the word potty inside of Mayan pottery, couldn’t I come up with an anagram that suggests the other definition of the word potty? Believe me, I tried, for a good half hour, but I came up empty handed. It did cross my mind–even though it wasn’t going to help me with a story–that back in the days before flush toilets, Mayan pottery and Mayan potty may have been synonymous. I could imagine a Mayan guest getting up from the dinner table and saying, “Excuse me, but I need to use your pottery.”

By then it was after 10 o’clock and still I had nothing. I was ready to give up on anagrams, but just as I was about to close my laptop and go off to read a good book, I spotted one last anagram–one that seemed almost too perfect for us: a pretty man. My first thought was: a pretty man, this is too good not to use. But Mayan pottery: twelve letters. A Pretty Man: ten letters. I had two unused letters: a vowel: o, and that questioning letter (sometimes a consonant, sometimes a vowel): y. Only two possible arrangements: y-o: yo. A pretty man, yo. Or o-y: oy. Oy, A Pretty Man. No good. I went to bed.

This morning–only a few hours ago–as I was again sitting at my laptop, I got a phone call from a friend who happens to be a poet and she suggested I look at rhymes for inspiration. I said thanks, but as soon as I was back at my laptop I tried thinking of a rhyme for Mayan pottery. Nothing good popped to mind yelling, Me! Use me! But I had told my friend I’d give rhyme a try and so I went to my rhyming dictionary. There were some close rhymes to pottery, but nothing was perfect. Of course, it was now nearing 9 a.m. and I knew if I had any hope of having a story by 1:30, I had to give up on perfection.

Strawberry? Mayan strawberry? Did I want to write about Mayan strawberries? But as I turned the pages of the rhyming dictionary, I quickly discovered that strawberry, along with a few other three syllable berries, was about it for close rhymes. I began to look at some not close or slant rhymes, but to be honest, nothing said Here’s the makings of a story. The best I’d been able to squeeze from the rhyming dictionary were Mayan capillary, Mayan stationery, Mayan dromedary.

So, I junked rhymes. Knowing the morning was wasting, I went back to my first thought: the topic Mayan pottery is just a prompt. I had license to go nuts with it. I didn’t need to find something inside of the prompt, like an anagram or a rhyme. Or tougher still: real Mayan pottery. I could go outside of it. In one online group I’m in, we give each other daily prompts–just as we do with our weekly topics–writing warm-up prompts, often off-the-wall suggestions, weird phrases, nonsense words, journaling caffeine–mind-candy to tempt us out of the comfort zone. A few of these recently have been:

Last Tuesday: The history of whispers.

Last Wednesday: We kept it in the basement.

And just this past Saturday: Peeling an orange.

Coming up tomorrow: What washed up on shore.

I had used this go-nuts license to go outside of the actual words only last Monday with our topic details. Last Monday morning I had been just as lost for an idea, when I found the single word details in a poem by a largely unknown Greek poet–who just happened to be gay–and built a story on that.

But this was today. And it was now mid-morning. I had two, maybe three hours to get something on paper. Yet I was still stuck. Anagrams weren’t going to work. There wasn’t time to research gypsy small-mindedness. Rhyme was no good. Did Mayans even have dromedaries? I began to write just how lost I was feeling–which is what I’ve got here in front of me, what I’m reading. When I typed Did Mayans even have dromedaries? it was, by my stove clock, 9:51. I did a word-count: 1,151 words. That’s a normal length story for me. I realized, at 9:53, that in writing about not being able to come up with an idea for a story, I’d come with one–not only come up with one, I’d written it!
I’d succeeded in talking about something–by not talking about it.

Just like a politician.

And that’s where I began, with the politician and the question: What can you tell us about Mayan pottery? Well . . . as the politician would say . . . I see the red light is flashing, which means I’ve no time to answer. But if you’ll go to my website, you’ll find my 54-point plan on how we need to deal with Mayan pottery.

About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

Queer? Just How Queer? by Colin Dale

     This question is so obviously a scientific one, although it goes against my nature, it’s only fair I give it a scientific reply. I did a little checking, and I see there is a Queer Scale, or Queer Magnitude Scale, just like there’s the Richter Magnitude Scale for earthquakes and the Saffir-Simpson Hurricane Scale for hurricanes. And just like with these other two scales, there are numbers indicating severity. For example, with the Richter Magnitude Scale you can have a 4.Oh to 4.9 earthquake, which, according to the Richter Scale, means a light earthquake, with noticeable shaking of indoor items, rattling noises, but no significant damage. With the Saffir-Simpson Hurricane Scale, you can have a Category 2 hurricane, which means winds of 96 to 110 mph, winds strong enough to lift mobile homes and snap the anchorages of small craft; extensive to near-total power outages are likely. Similarly, with the Queer Magnitude Scale, or QMS, you can have a 4.Oh to 4.9 queer, which means a light queer, with noticeable shaking of indoor items, rattling noises, but no significant damage. Or a Category 2 queer, strong enough to lift mobile homes and snap anchorages, but people living in brick homes or well-built high risers are probably okay.

     Now I’m going to take a look at my life–to see if I can answer this question: Just how queer am I? And for simplicity’s sake, so we don’t keep having to go back and forth, let’s just put the QMS (remember, that’s the Queer Magnitude Scale) up against the Saffir-Simpson hurricane scale, Categories 1, 2, 3, 4 and 5–5 being the meanest, toughest, most destructive.

     I started out like most of us, at puberty or maybe a little before, as a Category 1 queer. Now if I’d been a hurricane, that would have meant, as a queer just starting out, there would not have been much structural damage. Maybe a few shingles blown off, a few crushes on boys that made no sense, but that’s about it. According to the QMS, life, as a Category 1 queer, is almost always survivable.

     When I was a teen growing up in The Bronx, I got my first job: Christmas part-time in a suburban Macy’s; men’s dress shirts. There was this guy, my age–let’s call him Nicky B.–working the same evening shift. One night going home in a lightly falling snow, me to the elevated subway, Nicky B. to his home, which was within walking distance, Nicky B. grabbed my hand and led me into an apartment building and into a deserted stairwell where we had a little fun. That was my first time. And even though it was my first time, I liked it enough to know that I was now a Category 2 queer. If you recall, a QMS Category 2: small craft snap their anchorages. My anchorage had been snapped, all credit to Nicky B.

     I remained a QMS Cat 2 queer all through high school, all through my undergrad years, but then came Army and graduation to Category 3. Between the stairwell and the Army there had been a couple of Category 2.2’s and 2.6’s, but I can’t boast making it all the way to a Cat 3 until the Army. And Mark C. The setting is South Korea. Winter. Christmas Eve. (I’ve made it a practice to always upgrade my QMS at around Christmastime.) The officers’ club: a jumbo Quonset hut overlain with snow. Night: late enough so that all of us junior officers are morosely shitfaced . . .

     Before I bring Mark C. into the picture: according to the Saffir-Simpson Scale, a Category 3 hurricane is described as a “major hurricane,” capable of inflicting significant damage to a building “lacking a solid foundation,” to include the “peeling off of gable-end roofs” and the “penetration of inner curtainwalls.” Damage, according to Saffir-Simpson, can be “irreparable . . . “

     Enter: First Lieutenant Mark C., Alpha Battery commander, gruff, tough, recruiting-poster good-looking. He sits down next to Second Lieutenant Ray K., battalion adjutant (adjutant? that’s what they do with guys with English Lit. B.A.’s)–Second Lieutenant Ray K., self-conscious, mild, rapidly balding. A few whiskeys and First Lieutenant C. invites Second Lieutenant K. back to his hooch (hooch: Army lingo for quarters; quarters: regular people lingo for bedroom) to admire his new Samsung Acoustics Subwoofer Speaker System. We spend a quarter-hour tasting Wild Turkey and looking at the subwoofers; then turned–to my woozy surprise–to peeling off gable-end roofs and penetrating inner curtainwalls–definitely Category 3 stuff.

     I left the Army after Korea, Missouri, and Vietnam (Missouri being the most terrifying of the three). Toss in a couple of Category 3-point-this & that’s before I got to my QMS Category 4 level. Those point-this & that’s all happened after I’d moved to Colorado and was going to grad school: Western State in Gunnison, and, after that, D.U. . . .

     In fact, it was in the D.U. Theatre Department where I met Jake. No last initial needed. Jake was one-of-a-kind. The singular love of my life: five years younger, red-headed, perpetually cheerful, a fine actor and a frighteningly good cartoonist. You could say, when I met Jake, right then and there I applied for promotion to Category 4. Saffir-Simpson warns: “Category 4 hurricanes tend to produce more extensive curtainwall failures . . . ” (un-huh) ” . . . with some complete structural failures: some homes are leveled. There may be extensive beach erosion, with terrain flooded far inland. Total and long-lasting electrical and water losses are to be expected.” (un-huh) Jake and I were a couple for a long, long time. We were definitely QMS Category 4 queers. Had we the chance back then, we would have become Category 4 married queers. But we didn’t have that chance. We’d become QMS Cat 4’s about three decades too soon. But we had a good life together, Jake and I: Denver, New York, Denver again, San Diego, Seattle, and San Diego for a second time: a good, happy life.

     But, just like with hurricanes, the one-of-a-kind loves of a guy’s life–even Category 4 loves–sometimes move inland, their fierceness dissipate, their strong winds subside. Jake now does motion-capture animation with a film studio in Tel Aviv. He’s alone, living singly, and I’m genuinely sorry that’s true.

     I’ll stop here. I’ve never been a QMS Category 5 queer. I’m not sure what that would feel like. I know Saffir-Simpson says: “Category 5 hurricanes are the highest category of hurricanes. Complete building failures are a certainty, with some buildings totally blown away. Only a few types of structures are capable of surviving intact.” To be honest, I’m not sure I’d ever want to be a Category 5 queer. Katrina was a Category 5 hurricane. I’m afraid if ever I had a chance to be a Category 5 queer, I’d find myself, years–after my Mother of All Loves had moved inland–I’d find myself still waiting for some relief from the damage done to me, inside and out, still living among the debris of a Cat 5 relationship that was too wild, too strong, too indiscriminate.

     And probably still living in a F.E.M.A. trailer.

About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

      

Details by Colin Dale

The setting of houses, cafés, the neighborhood
that I’ve seen and walked through years on end:

I created you while I was happy, while I was sad,
with so many incidents, so many details.

And, for me, the whole of you is transformed into feeling.
     
      Lady Luck.  Serendipity.  Fluke.  Whatever you want to call it, when I found my idea for today’s story it was a remarkable moment.  And thank god I sat down to look for something a few days ago and didn’t do what I usually do and wait until Monday morning.  Looking for an idea, I checked my Bartlett’s, but was unprepared for the coincidence–the GLBT coincidence–I’d find.
     
      Under details, Bartlett’s had only two citations: the first, God is in the details, by Anonymous, and the 5-line poem with its: I created you while I was happy, while I was sad,/with so many incidents, so many details.
     
      The poet is gay icon Constantine Cavafy, known today in GLBT circles for his homoerotic poetry.  To be fair, though, only a portion of Cavafy’s work is homoerotic.   Virtually unpublished in his lifetime, Cavafy is today regarded as one of the great European poets of the late 19th and early 20th centuries.
     
      Constantine Cavafy died in 1933 at the age of 70.   Born to Greek parents in the Egyptian port-city of Alexandria, Cavafy lived the entirety of his life closeted.  His poetry was introduced to the English-speaking world by his friend and then equally closeted writer E.M. Forster.  Forster, though, who died in 1970 at 91, managed in his last years to emerge some from the closet.  Cavafy, dying 1933, wasn’t so lucky.
     
      A prolific writer, Cavafy drew heavily from classical history, Greek and Hellenistic.  History, and Cavafy’s home Alexandria with its own rich history, serve as metaphor for the whole of the human experience.
     
      First this–to make today seem a little less like a grad seminar in poetry:
     
It’s not a trick, your senses all deceiving,
A fitful dream, the morning will exhaust –
Say goodbye to Alexandra leaving.
Then say goodbye to Alexandra lost.
     
      This is not Cavafy.  This is another of my heroes: Leonard Cohen.  Cohen transformed Cavafy’s poem, The God Abandons Antony, into a somewhat autobiographical love song, changing Alexandria to Alexandra.  In the Cavafy poem …
       
      Anthony is Marc Antony, Cleopatra’s lover. The story goes when Alexandria was besieged, the night before the city fell, Antony dreamed he heard an invisible troupe leaving the city.  He awoke the next morning to find that his soldiers had in fact deserted him–which Antony took to mean even the god Dionysus, his protector, had abandoned him.  The poem has many layers of meaning beyond the historical.   Most say it’s about facing up to great loss: lost loves, lost dreams, lost opportunities–ultimately, of course, life itself.

When suddenly, at midnight, you hear
an invisible procession going by
with exquisite music, voices,
don’t mourn your luck that’s failing now,
work gone wrong, your plans
all proving deceptive—don’t mourn them uselessly.
As one long prepared, and graced with courage,
say goodbye to her, the Alexandria that is leaving.
Above all, don’t fool yourself, don’t say
it was a dream, your ears deceived you:
don’t degrade yourself with empty hopes like these.
As one long prepared, and graced with courage,
as is right for you who were given this kind of city,
go firmly to the window
and listen with deep emotion, but not
with cowardly pleas and protests;
listen–as a last pleasure–to the voices,
to the exquisite music of that strange procession,
and say goodbye to her, to the Alexandria you are losing.
     
      I’d wondered whether a poetry sampler was appropriate stuff for Storytellers.  It’s hardly run-of-the-mill memoir (“Then in 1988 this happened to me … “), but as a taste of some of the poetry I like, it qualifies, I think, as memoir-light.
     
      But, you’re thinking, what about those homoerotic poems?  I’ll give you a sample of two of Cavafy’s shorter homoerotic poems.    Now, neither one is going to make you go, Oh my God how could someone write that? –but consider when these were written.  Cavafy’s homoerotic poems, mild as they may seem to us today, do evoke the stifling repression that made emotional cripples of men like Cavafy and Forster.

He lost him completely. And he now tries to find
his lips in the lips of each new lover,
he tries in the union with each new lover
to convince himself that it’s the same young man,
that it’s to him he gives himself.

He lost him completely, as though he never existed.
He wanted, his lover said, to save himself
from the tainted, unhealthy form of sexual pleasure,
the tainted, shameful form of sexual pleasure.
There was still time, he said, to save himself.

He lost him completely, as though he never existed.
Through fantasy, through hallucination,
he tries to find his lips in the lips of other young men,
he longs to feel his kind of love once more.

      Tame, no, by what we’re used to?  But the works of kindred spirits like those of Constantine Cavafy and E.M. Forster–written only a few generations ago–remind us of how much we’ve to be thankful for today.
     
      That last poem is called In Despair.  This:
     
At the Next Table

He must be barely twenty-two years old—
yet I’m certain that almost that many years ago
I enjoyed the very same body.

It isn’t erotic fever at all.
And I’ve been in the casino for a few minutes only,
so I haven’t had time to drink a great deal.
I enjoyed that very same body.

And if I don’t remember where, this one lapse of memory
doesn’t mean a thing.

There, now that he’s sitting down at the next table,
I recognize every motion he makes—and under his clothes
I see again those beloved naked limbs.
     
      I’ll end with a cut of one of Cavafy’s best-known poems Ithaka.  You can find a YouTube video of Sean Connery reading Ithaka.  “Since Homer’s Odyssey . . . [and I shoplifted this from a Cavafy website] . . . Since Homer’s Odyssey, the island, Ithaca, symbolizes the destination of a long journey, the supreme aim that every man tries to fulfill all his life long . . . “
     
As you set out for Ithaka
hope that your journey is a long one,
full of adventure, full of discovery.
Laistrygonians and Cyclops,
angry Poseidon-don’t be afraid of them:
you’ll never find things like that on your way
as long as you keep your thoughts raised high,
as long as a rare sensation
touches your spirit and your body.
Laistrygonians and Cyclops,
wild Poseidon-you won’t encounter them
unless you bring them along inside your soul,
unless your soul sets them up in front of you.

Keep Ithaka always in your mind.
Arriving there is what you’re destined for.
But don’t hurry the journey at all.
Better if it lasts for years,
so that you’re old by the time you reach the island,
wealthy with all you’ve gained on the way,
not expecting Ithaka to make you rich.
Ithaca gave you the marvelous journey.
Without her you would have not set out.
She has nothing left to give you now.

And if you find her poor, Ithaka won’t have fooled you.
Wise as you will have become, so full of experience,
you’ll have understood by then what these Ithakas mean.

About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

Goofy Tales by Colin Dale

It’s probably true for each one of
us, we sit down a few days before Storytellers, or the day before, or the
morning of, look at the topic and think, What the hell can I say about this
one?  I’ve said just about every other
Monday about how I had to scrounge for inspiration.  Somehow, though, sometimes with only an hour
to spare–and sometimes thanks to the dictionary, a memory, or
Google–something would suggest itself. 
Looking at today’s topic, Goofy Tales, right up to this past Saturday
morning I was thinking maybe I would just skip today, or take a pass and just
be a listener.  But then on Saturday…
I went to the first meeting of a writers’ workshop I’d
enrolled in.  The instructor had warned
us by email the previous week, in addition to the usual first-day
stuff–introducing ourselves, talking about our individual goals, and laying
out a plan for the coming four weeks–we’d do a half hour or so of free writing.  The topic would be revealed to us on the
spot.  So last Saturday morning, we met
at the appointed hour, did the go-round of introductions–seven women and
me–stumbled through defining short literary nonfiction, when the instructor
said, Okay, it’s time for some free writing. 
The topic is guilty pleasures.
“I want you to begin,” she said, “by thinking of one of your
guilty pleasures, and remembering one particular time when you were really
enjoying it.  I’m going to interrupt you
several times to redirect your thinking, but I want you to start by telling
us–in the present tense, create a scene, use dialogue if you like–what it
feels like, this guilty pleasure, to be really, really enjoying it.  And then, without warning, you’re
interrupted.  What do you do?”
Each of us pulled back into our own private worlds–the
seven women and me–and began scribbling.
Three, four minutes of head-scratching and panicky
scribbling and the instructor said, “The interruption is over.  You’re free to go back to enjoying your
guilty pleasure.  What do you do
now?”
A few more minutes of wild writing and the instructor
said, “Now think back to one time–an earlier time–when you were caught
in the act of your guilty pleasure-absolutely
caught.  Again, create a scene, but now
using the past tense, tell us what that was like.  What did you say to the person who caught you
in the act?”
Heads down, scribble, scribble, and we were done.  The reason I’ve mentioned already that the
workshop was made up of seven women–the instructor was also a woman–and me,
is because of what these other students had come up with for their guilty
pleasures, and what I’d written.  We
started around the table clockwise, reading aloud our free writing.  Denise–and here I’m using phony
names–Denise, a bank manager from Louisville, confessed her addiction to dark
chocolate.  Tessa, a Montesori teacher
from Golden, opened up about her secret love for reality TV.  Joyce, who introduced herself as “only a
housewife,” revealed her passion for celebrity gossip magazines.  The youngest workshopper, Karen, a sophomore
at Metro, said something about not being able to pass up Starbucks lattes.  Then they all turned to look at me.  The instructor said, “Well, Colin, what
have you written?”
I thought: dark chocolate, reality TV, celebrity
gossip, Starbucks lattes.  I looked down
at what I had written, with no time to change anything, looked up at all the
women–who all now looked like my mother, even Karen–and began:
“I have it in my hand
when they come in.  Surprised like that,
there’s no way I can put it away quickly. 
I do the best I can, though, and press it into my lap…

Back to the workshop. 
There were a few uneasy coughs around the table, and I could hear
folding chairs squeak–but I knew there was no turning back, so I read on…

“Luckily there is a copy
of Westword next to me, which I quickly slide over, making of it a sort of
paper apron.  ‘You didn’t knock.  You scared me,’ I say, joking.

“‘Yeah, boo,’ Gerry, the
jock asshole says, screwing up his nose. 
‘You got the paper upside down. 
Whatcha hiding?'”

“Tony, the assistant
asshole, who hangs back by the door, says, ‘We’re gonna go workout.   Wanna come?’

“‘Let’s see what you got
there,’ the jock asshole says, and grabs for the Westword.

“‘Nothing,’ I say,
letting the paper get taken, knowing in the split-second I had had I have moved
it deep down and out of sight.  ‘See?’

“‘Yeah, well, thought you
were hiding some good shit.’

“‘Let’s go,’ says the
assistant asshole, and they disappear as abruptly as they appeared.
Back when I’d been doing the free writing, this was
when the instructor broke in: “The interruption is over.  What do you do now”?  Now, reading what I’d written, I looked up at
the women, each one with an expression of Oh, no, am I the only one who thinks
she knows what Ray is telling us? 
Confident my salvation is just ahead, I go back to what I’d written and
read on…
“From where I’m sitting
I’m able to lean forward and reach the door without standing.   Turning the twist-latch I feel a return of
reasonable privacy.  I reach down between
my legs, around the curve of my inner thigh, lift it into the light of day and
hold it with both hands: The Oxford Book
of English Verse
.  My breathing
quickens as I open to Coleridge–back to The Ancient Mariner:

                 Like one that on a lonesome road
                 Doth walk in fear
and dread,
                  And having once
turned round walks on,
                  And turns no more
his head;
                  Because he knows,
a frightful fiend
                  Doth close behind
him tread.

“My guilty pleasure (I wrote) in this freshman land of asshole jocks is 19th-century romantic poetry. My 1942 Oxford goes with me everywhere.”

I got that far Saturday in my free writing about guilty
pleasures and I thought, Good Lord, this is silly.  And then, driving home Saturday from the
workshop, I also thought, You know, the story I just free wrote and then had to
read aloud–it wasn’t just silly.  It was
goofy!  But back again to
Saturday…  
Back to when we were free writing.  The instructor interrupted for the last time
and asked us to recall an earlier time when we had been caught–in no uncertain
terms–in the act of our guilty pleasures, I wrote:
“My father, who had no
interest in literature, and who was outspoken especially in his contempt for
poetry–fag lit, as far as he was
concerned–threw open my bedroom door, making the big posters taped over my
bed–my unframed Virginia Woolf and Walt Whitman portraits rattle like paper
flags.  And there I was, spread-eagled on
my bed, the Oxford in my hand,
savoring again my Ancient Mariner. 
Caught dead to rights in the act.

“‘Damn it, son,’ my
father said, a look of deep disgust on his face, ‘I’ve told you what that
shit will do to you.’

“‘But, Dad…

“‘Give it to me,’ he
said, thrusting his hand toward the Oxford

“‘No, Dad!” I
yelped, recoiling against the headboard. 
‘Please!’

“‘Stop with that shit
now, son.  Hand it over.’

“‘No, please, Dad,
no.  Please let me read my
Coleridge.  Please.  I promise, Dad, I really do, I promise I’ll
stop before I go blind.”
Here endeth the free writing.
And here endeth today’s goofy tale.

About the Author


Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.

Cooking by Colin Dale

          As a kid, cooking terrified me, and I wasn’t a kid who terrified easily. It wasn’t the doing of cooking so much that terrified me, but the idea of cooking. The idea of cooking scared not the crap out of me but the identity out of me.

          You know how with many languages–actually with one fourth of the world’s languages–there’s such a thing as grammatical gender? In these languages, all objects–not just those with obvious biological gender such as men and women, bulls and cows, but all objects–are classified by gender. That’s why, in a language like Spanish for example, we have not only ‘el hombre,’ masculine for ‘the man,’ and ‘la mujer,’ feminine for ‘the woman;’ but also ‘el machete,’ masculine for ‘the machete, or big knife,’ and ‘la mesa,’ feminine for the table. Languages using grammatical gender most often use only two: masculine and feminine; a few, like German, also employ neuter. English doesn’t mess around with grammatical gender. We English-speakers don’t bother classifying all objects according to masculine, feminine, or neuter. That’s why first time language learners studying certain foreign languages often find the business of grammatical gender completely crazymaking.

          But grammatical gender is a matter of language and therefore a terror only for language learners. The idea of cooking, when I was growing up, presented a different kind of terror for me, not a language terror but a terror linked more vitally to biological gender: let’s call it self-conscious gender.

          I should say in calling it self-conscious I’m not suggesting a condition of shyness or awkwardness–although, in my case, shyness and awkwardness were certainly both there to be seen. I’m thinking more of self-conscious in the sense of how one sees oneself, how one takes the measure of oneself. So, when I say, as a kid, I was terrorized by self-conscious gender, what I’m saying is that biological gender, as well as the socially approved sexual orientation linked to that gender–were much on my mind. Something I suspect we all experience: I didn’t know how to see myself. I didn’t know how to take the measure of myself.

          What, you should be asking, does all this have to do with cooking?

          In my childhood, much as in Spanish, all objects were classified by gender. For example, sports–baseball, football; not necessarily tennis–were like ‘el machete,’ the big knife: masculine. Household chores, like cleaning and cooking, were like ‘la mesa,’ the table: feminine. I’ve suggested first time foreign language learners often find grammatical gender completely crazymaking. Well, believe me, for a kid growing up for the first time, self-conscious gender can be just as crazymaking.

          My family, my relatives, my schoolmates were all I had for a reference frame–as with studying a language, that Beginners’ Spanish textbook is all you have to go on. Within my reference frame, cleaning and cooking weren’t the only things classified as feminine. The list was a long one. It included fussiness about clothes–feminine, too much time spent grooming–feminine, a fear of getting dirty–feminine–although gardening, which was bound to get you dirty, was definitely feminine–feminine too was avoiding bullies, or showing an interest in the arts–music, dance, or poetry–and absolutely feminine was taking pleasure in the outdoors, not, of course, as a place to play touch football–that was masculine–but the outdoors for itself, for the grasses, the trees, the birds and changes of season. All of these were dangerously feminine.

          Puzzling to me was seeing a few of my schoolmates take up some of these feminine interests–something I hadn’t the guts to do. I had schoolmates who drifted into the arts. Others who seemed to enjoy dressing nicely. A few who weren’t particularly aggressive. It wasn’t until years later that I figured out these schoolmates could make the choices they made because they weren’t terrorized by self-conscious gender. These schoolmates, the ones painting pictures, playing piano, reading books–some even cooking–from an early age, these schoolmates were able to take the measure of themselves, to see themselves–and to be comfortable with what they saw.

          I have spent so much of my life looking over my shoulder, not only in my childhood but also deep into my adulthood. In fact, there are still moments when I take a quick glance. What am I looking out for? I’m looking out for–what shall I call him?–the Accuser. The Accuser, should he show up, will point and say–loudly so all can hear–‘Aha, I’ve found you out! Now we can all see what you are. There’s no pretending any more.’

          I knew as a child–even as a teenager–if I should so much as show the slightest interest in one of these feminine behaviors–going on a nature hike, writing a poem, avoiding a bully–learning to cook–the door would fly open and there would be The Accuser, pointing and saying loud enough so that all might hear–my parents, my aunts and uncles, my teachers, my schoolmates–‘Aha, I’ve found you out! Now we can all see what you are. You’re a faggot. Or, worse yet, maybe even a girl. There’s no pretending any more.’

          And so I overcompensated. I lived a super masculine life–deliberately–although not necessarily because I wanted to. I stayed away from boys who–as my parents might say–were ‘that way.’ Although I fled playing team sports and instead hid in my room reading books, I was always very careful to make light of my reading and to show a great interest–entirely fake–in spectator sports. For effect, I smoked a pipe, although you’d never catch me in a suit and tie. When the opportunity came along–although I was secretly trying to dodge military service–I elected a regular, as opposed to reserve, commission (i.e., more manly), opted for a combat arm, and deported myself reasonably well in Korea and Vietnam.

          Self-conscious gender made me, you might say, what I was never meant to be: a warrior–albeit a reluctant warrior.

          So, where does this leave me? It leaves me right here. Sixty-seven years old. I’m happy. I live a good life. I do go on nature hikes, although don’t ask me to identify a bird. Sports? Well, I do get together with friends to watch the Broncos, but I do it mostly for the pizza and the conversation. I’m an avid reader; I don’t make light of it; I’m proud of it. And some of it’s poetry. As for suits and ties? Well, I’m a jeans guy. Although I know it makes absolutely no sense, there’s still this leftover voice whispering in my head: suits and ties are for men that are “that way.”

            What about cooking? I still don’t. Or so rarely it hardly counts. If I do cook, it’s only to give the Accuser one more shot. It’s to give him a chance to come into my kitchen and say, ‘Aha, there you are, trying to cook! You’re not a cook. The whole world knows. There’s no pretending any more.’

About the Author

Colin Dale couldn’t be happier to be involved again at the Center. Nearly three decades ago, Colin was both a volunteer and board member with the old Gay and Lesbian Community Center. Then and since he has been an actor and director in Colorado regional theatre. Old enough to report his many stage roles as “countless,” Colin lists among his favorite Sir Bonington in The Doctor’s Dilemma at Germinal Stage, George in Who’s Afraid of Virginia Woolf? and Colonel Kincaid in The Oldest Living Graduate, both at RiverTree Theatre, Ralph Nickleby in The Life and Adventures of Nicholas Nickleby with Compass Theatre, and most recently, Grandfather in Ragtime at the Arvada Center. For the past 17 years, Colin worked as an actor and administrator with Boulder’s Colorado Shakespeare Festival. Largely retired from acting, Colin has shifted his creative energies to writing–plays, travel, and memoir.