Jacki Kellum

Juxtapositions: Read My Mind

Category: Books gthat Describe An Object in a Home

Breakfast at Tiffany’s Quotes with Page Numbers – Truman Capote’s Experiences of New York City

Truman Capote has a simple but powerful way of talking about the places where he has lived, and the book and movie Breakfast at Tiffany’s is an example of the author’s ability to do just that. Unfortunately, too many people only know of the Truman Capote who wrote In Cold Blood, but I would almost venture to say that the author’s book about the brutal killings in Kansas is totally unlike him.

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I would venture to say that Capote is more a man of The Grass Harp, which is a play that is set in two acts:

“Set on the outskirts of a small Southern town, The Grass Harp tells the story of three endearing misfits—an orphaned boy and two whimsical old ladies—who one day take up residence in a tree house. As they pass sweet yet hazardous hours in a china tree, The Grass Harp manages to convey all the pleasures and responsibilities of freedom. But most of all it teaches us about the sacredness of love, “that love is a chain of love, as nature is a chain of life.”

“This volume also includes Capote’s A Tree of Night and Other Stories, which the Washington Post called “unobtrusively beautiful . . . a superlative book.” Amazon

Truman Capote is also the man of A Christmas Memory:

“First published in 1956, this much sought-after autobiographical recollection from Truman Capote (In Cold BloodBreakfast at Tiffany’s) about his rural Alabama boyhood is a perfect gift for Capote’s fans young and old.

“Seven-year-old Buddy inaugurates the Christmas season by crying out to his cousin, Miss Sook Falk: “It’s fruitcake weather!” Thus begins an unforgettable portrait of an odd but enduring friendship and the memories the two friends share of beloved holiday rituals. ” Amazon

[By the way, if you buy the correct volume of Breakfast at Tiffany’s, A Christmas Memory is included in the volume].

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Truman Capote is also the man behind The Thanksgiving Visitor:

“A Christmas Memory,” “One Christmas,” and “A Thanksgiving Memory.” All three stories are distinguished by Capote’s delicate interplay of childhood sensibility and recollective vision.

“Available for the first time in a single volume are the three holiday stories that Truman Capote regarded as among his greatest works of short fiction. Two of these childhood memoirs – “A Christmas Memory” and “The Thanksgiving Visitor” – center on the author’s early years with a family of distant relatives in rural Alabama. Both pay loving tribute to an eccentric old-maid cousin, Miss Sook Faulk, who became his best friend. In “A Christmas Memory”, Miss Sook, Buddy (the narrator), and their dog, Queenie, celebrate the yuletide in a hilariously tipsy state. In the poignant reminiscence “One Christmas”, six-year-old Buddy journeys to New Orleans for a reunion with his estranged father that shatters many illusions. And in “The Thanksgiving Visitor”, Miss Sook invites the school bully, Odd Henderson – called by Buddy “the meanest human creature in my experience” – to Thanksgiving dinner.” Amazon

In the same way that some of the best of Capote shares memories of his childhood homes, Breakfast at Tiffany’s captures Manhattan in New York City, which was also Capote’s home for a while. Audrey Hepburn was the perfect person to capture the quiet hominess of Capote’s writing style.

At times, a movie may not be absolutely true to an author’s intent and may, indeed shoot beyond where the author was headed. Truman Capote had wanted Marilyn Monroe to play the part of Holly Golightly in the movie Breakfast at Tiffany’s. In the book, Capote describes Holly as having albino blonde hair. I read the book after I watched the movie, and I am glad that I did. I was stunned to read that Holly Golightly was supposed to have blonde hair. In my opinion, Audrey Hepburn is the quintessential Holly Golightly, and in my opinion, the movie would have been less effective with Marilyn Monroe. The Audrey Hepburn-Truman Capote match is perfect for the movie Breakfast at Tiffany’s.

“It was a warm evening, nearly summer, and she wore a slim cool black dress, black sandals, a pearl choker. For all her thinness, she had an almost breakfast-cereal air of health, a soap and lemon cleanness, a rough pink darkening in the cheeks. Her mouth was large, her nose upturned. A pair of dark glasses blotted out her eyes. It was a face beyond childhood…. I thought her anywhere between sixteen and thirty, as it turned out, she was shy two months of her nineteenth birthday.” p. 12

“She was never without dark glasses, she was always well-groomed, there was a consequential good taste in the plainness of her clothes….One might have thought her a photographer’s model, perhaps a young actress….” p. 14

“I discovered, from observing the trash-basket outside her door, that her regular reading consisted of tabloids and travel folders and astrological charts; that she smoked an esoteric cigarette called Picayunes; survived on cottage cheese and melba toast….” p. 15

“Also she had a cat and she played the guitar.

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“On days when the sun was strong, she would wash her hair, and together with the cat, a red-striped tom, sit out on the fire escape thumbing a guitar while her hair dried.” p. 16.

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Breakfast at Tiffany’s is a movie that was released in 1961. It is based on Truman Capote’s novella by the same name.

[Most of us know that Audrey Hepburn made fashion history in the black dress and sunglasses that she wore in the film. Like most people, I have long associated the fashion staple the little black dress with Audrey Hepburn and the movie Breakfast at Tiffany’s, and when I as a child, I memorized the theme song “Moon River” and learned to play it on several instruments. In many ways, I grew up with Breakfast at Tiffany’s and I could have sworn that I had seen the movie before, but until recently, I had not.  I decided that I needed to correct that mistake, and I am glad that I did.]

[“The song ‘Moon River’ was written especially for Audrey Hepburn, since she had no training as a singer. The vocals were written to be sung in only one octave. The famous black dress worn by Audrey Hepburn in the opening scenes of this movie was sold for $807,000 on December 4, 2006 at Christie’s Auction House in London, making it the second most expensive piece of movie memorabilia ever sold.” Read More Here]

[“Tiffany’s flagship store (since 1940) is located at the corner of Fifth Avenue and 57th Street in Manhattan, New York City. The former Tiffany and Company Building on 38th Street is on the U.S. National Register of Historic Places. The polished granite exterior is well known for its tiny window displays. The store has been the location for a number of films including Breakfast at Tiffany’s, Sweet Home Alabama and Sleepless In Seattle.” Read More Here]

As I said before, Breakfast at Tiffany’s is largely about the period when Manhattan was Capote’s home:

“I am always drawn back to places where I have lived, the houses and their neighborhoods. For instance, there is a brownstone in the East Seventies where, during the early years of the war, I had my first New York apartment. It was one room crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red velvet that one associates with hot days on a train. The walls were stucco, and a color rather like tobacco-spit. …The single window looked out on a fire escape. Even so, my spirits heightened whenever I felt in my pocket the key to this apartment; with all its gloom, it still was a place of my own, the first, and my books were there, and jars of pencils to sharpen, everything I needed, so I felt, to become the writer I wanted to be.

“It never occurred to me in those days to write about Holly Golightly….” – Truman Capote –Breakfast at Tiffany’s page 3

“Outside, the rain had stopped, there was only a mist of it in the air, so I turned the corner and walked along the street where the brownstone stands. It is a street with trees that in the summer make cool patterns on the pavement; but now the leaves were yellowed and mostly down, and the rain had made them slippery, they skidded underfoot. The brownstone is midway in the block, next to a church were the blue tower-clock tolls the hours.” Breakfast at Tiffany’s, p. 10

 

In 1961, I was 11-years-old, and I was growing up in rural Southeast Missouri–which is a world away from New York City. I did not visit New York City until 2010, and in an odd way, I am glad that I did not watch Breakfast at TIffany’s until after I had become familiar with the Big Apple. My current home is very close to New York, and I visit the city often. As the film opens, a cab makes its way from Tiffany’s to Holly’s apartment, and it follows a route along what has become my favorite walkway in NYC. Breakfast at Tiffany’s was filmed over half a century ago, the New York City that it captures is very much the same now as it was then, and I loved seeing the NYC that is captured in the film Breakfast at Tiffany’s.

Central Park is one of my very favorite places, and part of Breakfast at Tiffany’s is filmed there.

Bandshell, Central Park (from 66th to 72nd Street) Manhattan

Conservatory Water, Central Park (from 72nd to 75th Street) Manhattan.

“That Monday in October, 1943. A beautiful day with the buoyancy of a bird. …

“We ate lunch at the cafeteria in the park Afterward, avoiding the zoo (Holly said she couldn’t bear to see anything in a cage)…. Leaves floated on the lake; on the shore, a park-man was fanning a bonfire of them, and the smoke, rising like Indian signals, was the  only smudge on the quivering air. Aprils have never meant much to me, autumns seem that season of beginning, spring; which is how I felt sitting with Holly on the railings of the boathouse porch. I thought of the future, and spoke of the past. Because Holly wanted to know about my childhood. She talked of her own, too; but it was elusive, nameless, placeless, an impressionistic recital, though the impression received was contrary to what one expected, for she gave an almost voluptuous account of swimming and summer, Christmas trees, pretty cousins and parties: in short, happy in a way that she was not, and never, certainly, the background  of a child who had run away.” p. 51

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‘Passing a Woolworth’s, she gripped my arm: ‘Let’s steal something,’ she said, pulling me into the store, where at once there seemed  a pressure of eyes, as though we were already under suspicion. ‘Come on. Don’t be chicken.’ She scouted a counter piled with paper pumpkins and Halloween masks. … Holly picked up a mask and slipped it over her face; she chose another and put it on mine; then she took my hand and we walked away. It was as simple as that.

“Outside, we ran a few blocks, I  think to make it more dramatic….p. 52

“We wore the masks all the way home.” p. 53.

During the early part of the film, Cat is the only character who wasn’t wearing a mask. But the true monsters of the film are its rats, and the depth of the movie revolves around Holly’s discoveries about them.

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Holly’s goodbye letter from José:

“My dearest little girl, I have loved you knowing you were not as others. But conceive of my despair upon discovering in such a brutal and public style how very different you are from the manner of woman a man of my faith and career could hope to make his wife. … So I hope you will find it in your heart not to condemn me I have my family to protect, and my name, and I am a coward where those institutions enter. Forget me, beautiful child. I am no longer here I am gone home.” p. 94

“All right, he’s not a rat without reason. A super-sized King Kong-type rat like Rusty…. I did love him. The rat” p. 94

“All right — so he’s not a regular rat, or even a super rat. He’s just a scared little mouse. But — oh, golly, gee, damn!” Movie quote

Neither the book nor the movie are perfect. The book is plagued with politically incorrect references to “dykes” and “les negres,” and the movie suffers from some very weak scenes in which Mickey Rooney poorly plays a China Man. Those scenes are embarrassingly inappropriate now.

I’m glad that I stuck with the film through the rough patches, however, and into the relationship that develops between Hepburn and George Peppard. This relationship and Holly’s struggles with “the Reds” is the meat of the film.

Holly Golightly: You know those days when you get the mean reds?
Paul Varjak: The mean reds, you mean like the blues?
Holly Golightly: No. The blues are because you’re getting fat and maybe it’s been raining too long, you’re just sad that’s all. The mean reds are horrible. Suddenly you’re afraid and you don’t know what you’re afraid of. Do you ever get that feeling?
Paul Varjak: Sure.
Holly Golightly: Well, when I get it the only thing that does any good is to jump in a cab and go to Tiffany’s. Calms me down right away. The quietness and the proud look of it; nothing very bad could happen to you there. If I could find a real-life place that’d make me feel like Tiffany’s, then – then I’d buy some furniture and give the cat a name!

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“Angst. But what do you do about it?”

“Well, a drink helps.”

“I’ve tried that. I’ve tried aspirin, too…

“What I’ve found does the most good is just to get into a taxi and go to Tiffany’s. It calms me down right away,  the quietness and the proud look of it: nothing very bad could happen to you there, not with those kind men in their nice suits, and that lovely smell of silver and alligator wallets. If I could find a real-life place like Tiffany’s then I’d buy some furniture and give the cat a name.” p. 38.

“Didn’t I tell you this was a lovely place?”

“Do they still really have prizes in Cracker Jack boxes?” “…Oh; yes.” “That’s nice to know… It gives one a feeling of solidarity, almost of continuity with the past, that sort of thing.”

[I don’t want to completely destroy the film for people who haven’t seen it yet, but the message lies within Holly Golightly’s attempts to deny what is and is not valuable in life. Because of the honest way that Capote created Holly Golighty, Breakfast at Tiffany’s is much more than Romantic Comedy [a genre that I usually detest]. For several minutes into the film, I thought that the movie was going to be silly, but by the end, I was in tears. Holly Golightly is a well-developed character. She is a hayseed who has escaped to New York City and who is caught in the fruitless snare of trying to play the part of someone that she can never be.]

“…the kid’s fifteen But stylish: she’s okay, she comes across. Even when she’s wearing glasses this thick; even when she opes her mouth and you don’t know if she’s a hillbilly or an Okie or what. I still don’t. My guess, nobody’ll ever know where she came from. She’s such a goddamn liar, maybe she don’t know herself any more. But it took us a year to smooth out that accent. How we did it finally, we gave her French lessons: after she could speak French, she could imitate English.” p. 30.

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“But Doc, I’m not fourteen anymore, and I’m not Lulamae. But the terrible part is (and I realized [p. 69] it while we were standing there) I am. I’m still stealing turkey eggs and running through a brier patch. Only now I call it having the mean reds” pgs 69-70.

“Never love a wild thing….That was Doc’s mistake. He was always lugging home wild things. A hawk with a hurt wing. One time it was a full-grown bobcat with a broken leg. But you can’t give your heart to a wild thing: the more you do, the stronger they get until they’re strong enough to run into the woods. Or fly into a tree. Then a taller tree. Then the sky. That’s how you’ll end up…if you love a wild thing. You’ll end up looking at the sky.

. . .

“…it’s better to look at the sky than live there. Such an empty place; so vague. Just a country where the thunder goes and things disappear.” p 70

“No matter where you run, you just end up running into yourself.” [movie[

If you have Amazon Prime, you can watch the movie Breakfast at Tiffany’s and several other related features free Here.

“She’s a phony. But she’s a real phony. You know why? Because she honestly believes all this phony junk that she believes.”

“Promise me one thing: don’t take me home until I’m drunk — very drunk indeed.”

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Holly Golightly’s relationship with Peppard develops slowly:

“For I was in love with her. Just as I’d once been in love with my mother’s elderly colored cook and a postman who let me follow him on his rounds and a whole family named McKendrick. That category of love generates jealousy, too.” p. 72

“Those final weeks, spanning end of summer and the beginning of another autumn, are blurred in memory, perhaps because our understanding of each other  had reached that sweet depth where two people communicate more often in silence than in words: an affectionate quietness replaces the tensions, the unrelaxed chatter and chasing about that produce a friendship’s more showy, more in the surface sense, dramatic moments. … we spent entire evenings together during which we exchanged less than a hundred words; once, we walked all the way to Chinatown [p. 79] … then moseyed across the Brooklyn Bridge, and on the bridge, as we watched seaward-moving ships pass between the cliffs of burning skyline….

“So the days, the last days, blow about in memory, hazy, autumnal, all alike as leaves: until a day unlike any other I’ve lived.

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“The stables–I believe they have been replaced by television studios–were on West Sixty-sixth Street. Holly selected for me an old sway-back black and white mare: ‘Don’t worry, she’s safer than a cradle.’” p. 82

I have watched Breakfast at Tiffany’s repeatedly now, and every time “Moon River” begins to play, I get cold chills. I love the way that the film opens on a surrealistically empty New York City Fifth Avenue, and the way that the taxi cab drives you down to Holly Golightly’s apartment. I have walked that same route so very many times that i have nearly memorized it, and the book does allow you glimpses into Manhattan and NYC, but the movie is distinguished from the book in the way that it ends with the cat:

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“She was still hugging the cat. ‘Poor slob,’ she said, tickling his head, ‘poor slob without a name. But I haven’t any right to give him one: he’ll have to wait until he belongs to somebody. We just sort of took up by the river one day, we don’t belong to each other: he’s an independent, and so am I. I don’t want to own anything until I know I’ve found the place where me and things belong together. I’m not quite sure where that is just yet. But I know what it’s like.’ She smiled, and let the cat drop to the floor. ‘It’s like Tiffany’s,’ she said.” p. 37

[Holly Golightly decides to run away from all of her troubles and asks her writer friend (the George Peppard character) to

gather her belongings and cat and to bring them to the bar, for her escape].

“The sky was red Friday night, it thundered, and Saturday, departing day, the city swayed in a squall-like downpur. Sharks might have swum through the air….” p.. 98

“Stumbling skidding up and down the fire escape between Holly’s apartment and mine, wind-blown and winded and wet to the bone (clawed to the bone as well for the cat had not looked favorably upon evacuation, especially in such inclement weather) I managed a fast, first-rate job of assembling her going-away belongings. I even found the St. Christopher’s medal. Everything was piled on the floor of my room, a poignant pyramid of brassieres and dancing slippers and pretty things I packed in Holly’s only suitcase. There was a mass left over that I had to put in paper grocery bags. I couldn’t think how to carry the cat; until I thought of stuffing him in a pillowcase.

“Never mind why, but once I walked from New Orleans to Nancy’s Landing, Mississippi, just under five hundred miles. It was a light-hearted lark compared to the journey to Joe Bell’s bar The guitar filled with rain, rain softened the paper sacks, the sacks split and perfume spilled on the pavement, pearls rolled in the gutter: [p. 99] while the wind pushed and the cat scratched, the cat screamed–but worse, I was frightened, a coward to equal José: those storming streets seemed aswarm with unseen presences waiting to trap, imprison me for aidng an outlaw.”

. . .

And the cat, released, leaped and perched on her shoulder: his tail swung like a baton conducting rhapsodic music. Holly, too, seemed inhabited by melody, some bouncy bon voyage ompahpah.” p. 100

. . .

“…and we pulled to the curb of a street in Spanish Harlem. A savage, a garish, a moody neighborhood garlanded with poster-portraits of movie stars and Madonnas. Side-walk litterings of fruit-rind and rotted newspaper were hurled about by the wind, for the wind still boomed, [p.101] though the rain had hushed and there were bursts of blue in the sky.

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“Holly stepped out of the car; she took the cat with her. Cradling him, she scratched his head and asked. ‘What do you think? This ought to be the right kind of place for a tough guy like you. Garbage cans. Rats galore. Plenty of cat-bums to gang around with. So scram,’ she said, dropping him, and when he did not move away, instead raised his thug-face and questioned her with yellowish pirate-eyes, she stamped her foot: ‘I said beat it!’

. . .

“I was stunned ‘Well, you are. You are a bitch.’ ” p. 102

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“…Where’s the cat?”

“Oh, cat.” [How the movie ends, but not how the book ends]

Breakfast at Tiffany’s is not a GREAT book, and it is not a GREAT movie either. But because I had connected with the movie, I read the book, and I liked them both. The movie’s cat scene is unforgettable, and it is definitely the part of the movie where I knew that the movie “had” me.

Breakfast at Tiffany’s the movie was released at a time when there were only a few super movies. Gone with the Wind and The Wizard of Oz were exceptions to that rule. I read Margaret Mitchell’s book Gone with the Wind when I was 16, and I enjoyed it, but I loved the movie. I am still trying to wade through reading the books of The Wizard of Oz, but I have watched the movie numerous times. I credit The Wizard of Oz with helping me become the person who I have become. When I was a young child, I watched that movie with my dad and when I was a young child, I learned how to distill the magic that runs parallel to existence. When I was a little girl, my third grade teacher gave me my own copy of the book Louisa Mae Alcott. It was a biography, and it was the first real book that I had owned. No doubt, that book and that teacher changed my life, but it is through the movies along my way that I have discovered magic.

©Jacki Kellum August 31, 2017

Memorize

The Inability to Face the Truth and How Writing Heals – Passage from Pat Conroy’s Prince of Tides

In the book The Prince of Tides, Pat Conroy illustrates how three siblings have reacted to something terrible that has happened to them. None of the children are dealing with their pain in a healthy way, and none of them are fully facing what has hurt them. Rather, all three of them have assumed a false persona–a facade that defines them. This facade has become associated with the roles that they play in the dynamics of their family.

Tom’s Role in the Family’s Dysfunction [Tom Is the Character Associated with Pat Conroy]

“My designation in the family was normality. I was the balanced child drafted into the ranks for leadership, for coolness under fire, stability. ‘Solid as a rock,’ my mother would describe me to her friends, and I thought the description was perfect. I was courteous, bright, popular, and religious. I was the neutral country, the family Switzerland. I had been married for almost six years, had established my career as teacher and coach, and was living out my life as a mediocre man.” Conroy, Pat. The Prince of Tides, pgs. 43-44.

“But it was good to feel the tears try to break through. It was proof I was still alive inside, down deep, where the hurt lay bound and degraded n the cheap, bitter shell of my manhood. My manhood. How I loathed being a man, with its fierce responsibilities, its tally of ceaseless strength, its passionate and stupid bravado. How I hated strength and duty and steadfastness. … Strength was my gift, it was also my act, and I’m sure it’s what will end up killing me.” Conroy, Pat. The Prince of Tides, p. 46

Luke’s Role in the Family’s Dysfunction

” Luke had been offered the role of [p. 43] strength and simplicity. He had suffered under the terrible burden of being the least intellectual child. He had made a fetish out of his single-minded sense of justice and constancy. …he was the recipient of my father’s sudden furies, the hurt shepherd who drove the flock to safety before he turned to face the storm of my father’s wrath alone. … He had the soul of a fortress…

Savannah’s Role in the Family’s Dysfunction

“From earliest childhood, Savannah had been chosen to bear the weight of the family’s accumulated psychotic energy. Her luminous sensitivity left her open to the violence and disaffection of our household and we used her to store the bitterness of our mordant chronicle. …. Craziness attacks the softest eyes and gentlest flanks.

. . .

Luke chose to react the way that his mother had reacted and to totally deny that the tragedy had occurred. He pretended or he convinced himself that he had forgotten the incident entirely, but Tom remembers:

[Luke]”‘Mom told us it never happened.’

[Tom]”‘Mom also told us that Dad never beat us. She told us we’re descendants of southern aristocracy. She told us a million things that weren’t true, Luke.’

[Luke]”‘I don’t remember much about that day.’

“I grabbed my brother’s shoulder and pulled him toward me. I whispered brutally in his ear,  ‘I remember everything, Luke. I remember every single detail of that day and every single detail of our whole childhood.’

“‘You swore you would never mention that. We all did. It’s best to forget some things. It’s best to forget that.’

. . .

“‘We’ve pretended too much in our family, Luke, and hidden far too much. I think we’re all going to pay a high price for our inability to face the truth.’ ” Conroy, Pat. The Prince of Tides, pgs. 42-43;

A failure to face the truth is not a solution to a problem. It damages people in a number of ways:

  1. Ignoring the Truth Can Result in Numbness
  2. Ignoring the Truth Can Result in Cynicism
  3. Ignoring the Truth Can Result in Bitterness

As the book Prince of Tides begins, Savannah has tried to commit suicide, and at first, it appears that a mutually shared wound has affected her more than it did her brothers who preferred not to deal with the issue. But upon further reading, we realize that Savannah is trying to cope through her writing.

[Tom] “‘I just think the truth is leaking out all over her.’ Conroy, Pat. The Prince of Tides, p. 42

[Luke] “‘She’s crazy because she writes.

[Tom] “‘She’s crazy because of what she has to write about.

. . .

[Luke] “‘She should write about what won’t hurt her, what won’t draw out the dogs.’

Tom] “‘She has to write about them, That’s where the poetry comes from. Without them, there’s no poetry.'” p. 43

From  Savannah’s Poems

[This passage describes writing and how words are working within Suzanne]

My navies advance through the language,
destroyers ablaze in high seas.
I soften the island for landings.
With words, I enlist a dark army.
My poems are my war with the world.

I blaze with a deep southern magic.
The bombardiers taxi at noon.
There is screaming and grief in the mansions
and the moon is a heron on fire. Conroy, Pat. The Prince of Tides, p. 47

Dr. Roberta Temes is a psychologist who has written about the power of writing to heal:

“Translating your feelings into words brings you amazing results. All you need to do is write about important life events. Write with feeling. Write with truth. Write about significant experiences, good and bad, and then write about your emotional responses to those experiences. You will benefit both physically and emotionally; it’s been proven that constructing your story is an exercise in healing.”

“Research tells us that the health benefits of writing about your life may include:

1, Improving Your Immune System.Studies have shown that your grades could improve if you are a student; and your number of sick days could be reduced if you are a worker; asthma sufferers have fewer attacks and AIDS patients have higher T-cell counts. These advantages occur as a result of investigating your past and then putting your thoughts into words. Your immune system becomes stronger when unresolved, previously unexplored incidents are revealed.
2. Reducing Your Anxiety Levels. When you write, you expose the truth. Telling the truth extinguishes the emotional burden of secrecy; keeping a secret uses up valuable energy. When you put your emotional distress into words it is no longer wandering through your mind causing worry, tension, insomnia, and other disturbances.
3. Eliminating Your Obsessions. Obsessions may be caused by unanswered questions. When your mind is busy asking ‘why,’ your focus becomes restricted to that one subject. Structuring past events into a coherent story permits you to manage your feelings about those events and eventually store them away — obsessions will diminish and then disappear. If there are traumas in your past please know that the emotional fallout from trauma is distress and distress can be alleviated by writing about the trauma and about your response to it. When you write, you safely summarize, organize and then explain your past. Forming that narrative calms your complicated sensitive memories.
It takes a few weeks after writing your story to get the full beneficial effect. Your mind needs time to absorb it all and reconfigure.”

I am currently reading The Prince of Tides and preparing for a book club, and as I have glanced at the WordPress Daily Prompts for the past three days, I have thought about how each of the prompts relates to what I am reading and thinking about what I am reading. Yesterday, the prompt was “Exposed,” and I thought about the fact that many of the Wingo family problems stem from the fact that the members of the family will not expose themselves. Most of the family members want to hide their problems from the world, but worst than that, they want to hide their problems from themselves.

Exposed

Today’s prompt is “Bitter,” and as I pointed out before, bitterness is often a result of our failures to deal with our problems.

Bitter

Three days ago, the writing prompt was “Better,” and by the end of Chapter 3 of Prince of Tides, Tom Wingo had begun to acknowledge some of the truths of his life. He had begun to expose himself and his family and he had dared to risk so that he might achieve what could only be achieved by that exposure–so that he could get better.

Better

Most people realize that Pat Conroy is Tom Wingo in the book Prince of Tides, but like the book character Savannah, the real Pat Conroy is also a person who strives to heal his own personal and family problems through his writing. The Prince of Tides is a highly autobiographical work for Pat Conroy. it is a chronicle of his family’s pain, and Prince of Tides is only one book through which Pat Conroy expresses his pain and his family’s dysfunction.

When Tom Wingo first met his sister’s psychiatrist, he was immediately cynical:

Dr. Lowenstein: ‘Has she ever attempted suicide before?’

Tom: ‘Yes. On two other bright and happy occasions.

Dr. Lowenstein: ‘Why do you say “bright and happy?”

Tom: ‘I was being cynical. I’m sorry. It’s a family habit I’ve fallen prey to.’ Conroy, Pat. The Prince of Tides, p. 48

Anger followed Tom’s cynicism:

Dr. Lowenstein: “‘There are some background questions I need to ask if we’re going to help Savannah. And I’m sure we want to help Savannah, don’t we?’

“‘Not if you continue to talk to me in that unbearably supercilious tone, Doctor, as though I were some gaudy chimp your’e trying to teach to type. And not until you tell me where my goddamn sister is,’ I said, sitting on my hands to stop their visible trembling. The coffee and the headache intermingled and the faraway music [on the intercom] scratched along my eardrum like a nail.” Conroy, Pat. The Prince of Tides, p. 48

As part of society, we have been trained to believe that anger is a bad thing–a thing to be avoided, but in her book the Artist’s Way, Julia Cameron explains that in some instances, anger can be beneficial [if we listen to what our anger is suggesting that we do]:

“Anger is fuel. We feel and and we want to do something. Hit someone, break something, throw a fit, smash a fist into the wall, tell those bastards. But we are nice people, and what we do with our anger is stuff it, deny it, bury it, block it, hide it. like about it, medicate it, muffle it, ignore it. We do everything but listen to it.

“Anger is meant to be listened to. Anger is a voice, a shout, a plea, a demand. Anger is meant to be respected. Why? Because anger is a map. Anger shows us what our boundaries are. Anger shows us where we want to go. It lets us see where we’ve been and lets us know when we haven’t liked it. Anger points the way….” Cameron, Julia. the Artist’s Way, p. 62.

. . .

“Anger is the firestorm that signals the death of our old life . Anger is the fuel that propels us into our new one. Anger is a tool, not a master. Anger is meant to be tapped into and drawn upon. Used properly anger is use-full.

“Sloth, apathy, and despair are the enemy. Anger is not. Anger is our friend. Not a nice friend. Not a gentle friend. …It will always tell us when we have been betrayed. It will always tell us that it is time to act in our own best interests.

“Anger is not the action itself. It is the action’s invitation.” Cameron, Julia. the Artist’s Way, pgs. 62-63.

In the book The Prince of Tides, generations of Wingos had not listened to their inner warnings. For one reason or another, they had stuffed and suppressed their feelings, and the entire family was ill. Too often, families never move from their frozenness, their numbness, their cynicism, and their bitterness, and they refuse to listen to the reasons why they are angry and they do not allow the anger to move them to another, healing level. But by the end of chapter 3, Tom Wingo dared to take the next step:

“And then the pain summoned me. It came like a pillar of fire behind my eyes. It struck suddenly and hard

“In the perfect stillness, I shut my eyes and lay in the darkness and ade a vow to change my life.” Conroy, Pat. The Prince of Tides, p. 63.

©Jacki Kellum May 8, 2017

© 2017 Jacki Kellum

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