Daily Archives: July 10, 2011

Death: The Sandbar

Last week a friend of mine experienced one of the worst things that can happen to a parent: outliving your very young child. The past 16 months of her thread in life’s tapestry is particularly tragic and heart-breaking. It started a year ago March when her son, seven years old then, was diagnosed with a brain tumor and given 12 months to live. Then, last November, her husband died at age 35 in an unexpected asthma attack. At that time, she was pregnant with their third child, a girl born this past May.

Last week this part of the thread finally ended having taken both men from her young life and leaving her to raise her new born and five-year-old daughter. If there is anything that leavens this heavy loaf, it is that she has the strong support of family and many friends. She is well-loved, which doesn’t balance the scales or make it easier to bear, but provides some solace. Her journey also should serve to remind us all just how rich and blessed our lives are and how we must cherish and appreciate each day.

This was not the only death that touched me this past week. In Arlington, Texas, a 39-year-old baseball fan reached out to catch a ball tossed to him by Texas Ranger Josh Hamilton and fell 20 feet to his death.  His six-year-old son was with him at the time. (In May, another baseball fan died in a fall at a Colorado Rockies game.)

If you live long enough, people you know die. The math is inexorable.

The first close one I knew to slip off the sandbar was my uncle, who died back in 1992. There was also a distant relative I’d never met (or to be honest, heard of) who was at the Pentagon on 9/11 (not funny how 2001 didn’t turn out like the movie said it would). He died later as a result of trauma suffered then. (He was deaf and didn’t know what was happening. I confess I’m not clear on the details as to the extent of the trauma; how much was physical, how much was psychological. On some level, it hardly matters; he was another of many lost that day.)

In the past decade, two friends slipped off the sandbar and were washed away. One was a co-worker and friend; someone I’d camped with, partied with and hung out with. He died of a brain tumor. Another was the wife of a couple of friends from our “Circle of Friends.” She died suddenly, unexpectedly, from a brain aneurysm. These were the first two of my peers to vanish downstream.

The sandbar is a metaphor that comes from author John D. MacDonald who wrote, among many other things, the Travis McGee novels. In one of those novels, Pale Gray for Guilt, he writes:

Picture a very swift torrent, a river rushing down between rocky walls. There is a long, shallow bar of sand and gravel that runs right down the middle of the river. It is under water. You are born and you have to stand on that narrow, submerged bar, where everyone stands. The ones born before you, the ones older than you, are upriver from you. The younger ones stand braced on the bar downriver. And the whole long bar is slowly moving down that river of time, washing away at the upstream end and building up downstream.

Your time, the time of all your contemporaries, schoolmates, your loves and your adversaries, is that part of the shifting bar on which you stand. And it is crowded at first. You can see the way it thins out, upstream from you. The old ones are washed away and their bodies go swiftly by, like logs in the current. Downstream where the younger ones stand thick, you can see them flounder, lose footing, wash away. Always there is more room where you stand, but always the swift water grows deeper, and you feel the shift of the sand and the gravel under your feet as the river wears it away. Someone looking for a safer place can nudge you off balance, and you are gone. Someone who has stood beside you for a long time gives a forlorn cry and you reach to catch their hand, but the fingertips slide away and they are gone.

There are the sounds in the rocky gorge, the roar of the water, the shifting, gritty sound of sand and gravel underfoot, the forlorn cries of despair as the nearby ones, and the ones upstream, are taken by the current. Some old ones who stand on a good place, well braced, understanding currents and balance, last a long time. A Churchill, fat cigar atilt, sourly amused at his own endurance and, in the end, indifferent to rivers and the rage of waters. Far downstream from you are the thin, startled cries of the ones who never got planted, never got set, never quite understood the message of the torrent.

I think that is the best image of life and death that I know. The river of time ultimately washes us all away. Time takes us all; some sooner, some later.

In closing, in honor of an eight-year-old boy who slipped from the sandbar far too early, a bit of the Graham Nash (of Crosby, Stills, Nash & Young) song, Teach Your Children. It’s a beautiful song, and it keeps running through my mind:

Teach your parents well, their children’s hell will slowly go by,
And feed them on your dreams, the one they picked, the one you’re known by.
Don’t you ever ask them why, if they told you, you would cry,
So just look at them and sigh and know they love you.


Sideband #7: Down with 3D!

I completely forgot to rant about 3D when I wrote about the Green Lantern movie. Part of the reason I did forget is that I didn’t see it in 3D.

Except for certain special cases—basically occasionally checking to see the state of the art—I will never willingly see any movie in 3D.  Number me, along with film critic Roger Ebert, as a hater of 3D.

I’ll write a much longer rant later, but I just wanted to get that out there in case anyone was going to ask about how I liked the 3D in Green Lantern. I have no opinion about the 3D (except to despise it in general), because–thankfully–I didn’t see the 3D. (I hate to think a time could come when I won’t have the choice to see the 2D version.)

On rare occasion, I will see a 3D movie, as I said, to check out the state of the art. Also with the idea of “know thy enemy.” But I would never do that with any live-action film. The only sort of film I would even consider seeing in 3D would be an animated film that was created and rendered in 3D.

The main reason for that is that 3D is necessarily darker. It has to be, because it’s a filthy trick being played on your eyes. The only way it works is to provide each eye with separate images your brain tries to merge into a 3D image. There’s various ways of doing this, but they all involve reducing the light that reaches each eye.

There’s a lot more to this, and I will write rant about it later, but for now, please, “Just say NO to 3D!”


Sideband #6: The Boston Syndrome

In the Green Lantern post I mentioned “The Rocky Syndrome.”  That’s what I call the common American trope where a single hero prevails after having the living crap beat out of him (or her) and being at the edge of defeat.  (I’m going to assume you’re all familiar enough with the Rocky films to know what I’m talking about.)

A more modern example is one of the first (and greatest) action films of its kind: Die Hard. (Obviously, I’m talking about the first one. The others are… okay, but that first one is a classic. One of those films you can watch many times and still enjoy.)

In fact, that’s such a great film that one of these days I’ll have to write a post about it, but for now I want to talk about what I call, “The Boston Syndrome.”

I’m not talking about the city (or the clam chowder); I’m talking about the band, Boston (who came from Boston and no doubt ate plenty of clam chowder there). Another name for this syndrome might be “The Heavy Metal Syndrome,” which might lead you to think this is about music, but I mean another kind of Heavy Metal entirely.

Those of you who were around in the 70s and 80s, and who listened to rock music, will remember Boston. Their first album is one of the great classic albums. The band had a distinctive sound; you recognized a Boston tune immediately. Part of that came from the band’s musical arrangements, but a part of it was from technical innovations by Tom Scholz, guitarist and songwriter. (If I recall an article I read long ago, Scholz over-drove the output amplifiers and used bigass resistors to dampen the output. This is in contrast to over-driving the pre-amps.)

Anyway, here’s the point. The first album (Boston, 1976) was a rock and roll classic. Their second album (Don’t Look Back, 1978) was… more of the same. It did about half as well as the first. Granted, some of the problem was strife within the band, but a bigger problem is that it was… more of the same.  The band capitalized on their unique sound, but that works only once. After than, the novelty is gone.

It would be 1986 before the band released another album, Third Stage. Two more albums followed, Walk On (1994) and Corporate America (2002). And while their first album went platinum 17 times, the second went platinum only seven, their third only four, their fourth only once, and their fifth has zero.

Which brings us to “The Boston Syndrome,” or more properly, “doing a Boston.” The idea is of monster success followed by never living up to that first time ever again. And let me be clear: it’s not that their other albums are bad in any way. It’s just that they were so much less than the initial outing.

Another example of this–albeit a much more prolonged decay–was the magazine Heavy Metal (which was based on the French SciFi/Horror magazine, Métal Hurlant). When Heavy Metal first came out in 1977, it was awesome; it was another classic among all that followed.

As with Boston (the album), it was in part based on being the first and being unique. But as the magazine aged, it became less and less interesting.  The problem was that when they started they had a vast pool of current and past work upon which to draw.  Once they exhausted the cream, they had to rely on the small amount of new cream and a lot of old milk. The quality of the stories began to slip, and by 1986 they went from monthly to quarterly.

It did spawn some movies, and–like Boston (the band)–it’s still around, but it’s no longer the cultural landmark it once was. In both cases, part of the reason is that they created many followers, and that dilutes the primacy of the creator.

I’ll leave you with one more example of “doing a Boston.” Here’s another classic among peers that has never been matched since: the movie, The Sixth Sense.

M. Night Shyamalan created a movie that everyone was talking about. It was a phenomenon. (It’s one of my favorite movies; it easily makes my top 25 favorites of all time.) He’s never matched the sheer impact, surprise or quality of that movie since. He second, Unbreakable, wasn’t bad–most people rank it near the first, but it didn’t have the impact of his first. Just about everyone agrees his films went sharply downhill from there (hitting a serious low point with The Last Airbender).

I think his most recent film, Devil, wasn’t bad. He continues his trick of having a twist ending that he telegraphs early, but it’s toned down and rather loudly telegraphed (one would barely call it a twist ending). Actually, there’s two twists. One involves who the Devil is, and I guessed that one. It’s the unexpected twist that’s his signature move, and it’s fairly subtle here. One thing that is increasingly clear is that he’s a horror film director.  That’s his element.

But I have once again digressed off the main topic, so it’s time to quit. But now you know what I mean when I say, “They did a Boston.


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