Your Papa’s Schmaltz

My Papa’s Waltz

by

Theodore Roethke

A Sober and Graceless Dramatic Interpretation by Andy Havens

Hell’s Kitchen, New York. The tiny kitchen you expect in the tiny apartment you never stop seeing in movies. A tiny table is clean and tight against the tiny wall. Two burner stove, a few open shelves stacked with dishes and pans, and a sink squarely balanced on its pipes. Enter Papa, well past supper time, dirty from work. Mother sits at the table, expectant and displeased.

 PAPA: Any whiskey in the house, m’darlin?

MOTHER: (Talking in the direction of the clock) I don’t guess you need any, the way you smell already. And listen to ya talkin!

PAPA: You know I can’t help but me and the boys stop in for a turn or two at the Old Russet after a Friday shift. It’s a long week in the shop, and Mickey lost three fingers in the die cutter today. And hey, it ain’t even yet eleven o’clock!

MOTHER: Three more fingers?

PAPA: Am I speakin’ Gaelic? Three fingers, sure as I’m standin here.

MOTHER: Poor Mickey musta been born with near two dozen, by my count. And yer barely standin’ there at all, anyway. Lean up against somethin’ already.

Enter the son, eight years old and yawning in his pajamas.

 PAPA: I’ll lean up against my boy!

SON: Hi, Papa!

PAPA: Sorry if I woke you up! Lemme just wolllltz ya back to bed! Mother, sing us a tune!

Mother most decidedly does not sing them a tune.

 PAPA: Well, then turn up that Lefty Frizzell!

MAMA: We don’t have a radio.

PAPA: We don’t need one! (Singing) “My daaaaad was a poor, hard-workin’ Saginaw fishermannnn…”

 Papa takes the boy by his hand and begins a clumsy dance around the tiny kitchen. The boy wraps his remaining three limbs around papa and hangs on like a cowboy. He might be smiling.

 PAPA: We’ll start with a box-step!

MOTHER: A what now?!

This first move sends a cast iron skillet from a shelf to the linoleum floor, and rattles a couple of tin mugs. There’s a glassy jangling of milk bottles inside the refrigerator. A large cat skulks dejectedly out to the fire escape.

 MOTHER: See now? You’ve even chased off Ulysses!

 PAPA: I’m sure he’ll just go up and get some fish guts from Joyce. Now, boy, like I taught you, the telemark!

MOTHER: (Rising a little, shouting and incredulous) THE TELE-WHO?! Where did you learn to-

PAPA: No time for talkin m’darlin, we’re coming to a tricky sp-

Papa slips a bit on the polished floor. The son makes a brief exclamation and rubs his ear, as it was scraped by Papa’s belt buckle. A neighbor pounds on his ceiling from below. Mother’s portrait of Kathleen Lynn goes a little crooked on its nail.

 PAPA: Sorry, son! We’re all jammed up here widdout any room. Can’t be helped! Now remember the next move, boy. It’s called the wing! Let’s dance you back to bed on a “wing” and a prayer! Hang on to something!

Mother is rooted to the spot.

 The son grabs two tiny fistfuls of Papa’s dirty cotton shirt and holds on for the scant six feet of movement from the kitchen to the one small bedroom they all share. Papa tucks him in.

 SON: Nice moves tonight, papa. You really like to dance.

PAPA: I have to dance, bud. We all have to. I only really like to dance when I do it here. Sweet dreams, now.

The bedroom light turns off. From the kitchen comes the sound of a burner igniting on the stove and a cast iron pan sliding from the shelf. A glassy jangling of milk bottles in the refrigerator. A large cat struts self-assuredly in from the fire escape.

Amotivational Wish

Not a typo. I wrote amotivational on purpose. That’s how this works.

College. Where I find unique challenges every day. I was able to say the same for the Army, but in the Army, motivation was either easy to come by, or all-too-readily available from any number of willing… mentors. In any case, you were simply going to do whatever was to do, and that was that. Rather parental, when parenting works.

In college, motivation can be more elusive. You are truly on your own here, and if the material presented does nothing to move you intellectually or emotionally, it can be hell to get started on a project. I suspect this is why so many students just do what they’re told and buy whatever narrative is sent their way. It eases the difficulty. There’s no real way, from the impotence of the student’s disposition, to ensure that the wheels get greased. So the student’s best bet is to become a wheel and catch as catch can whatever lube is dripped her way.  To wit: an hour in a literature class is plenty of time to know exactly what the professor professes in public and private, and there’s a real narcotic allure to the idea of getting ideologically on board. Your assignments will conform to your conformity, and the sad coitus between two beings of diminished creative ambition will spurt along at a potentially Dean’s-list-level of coursework.

I see it, as best I can, from a distance. I call myself a writer with some confidence now, having produced some papers for school that I am perfectly proud of, as well as having one poem published and another take honors in a competition. I am a writer. There is power there, that I don’t think my fellow majors understand. I can sit in these classes, listen to these teachers, read the little post-modern litanies of a liberal arts education, take in the constantly present sense that “seriously, just do it like us, it’ll be so much easier for both of us” – and still write what I want. All it takes is evidence, and if you read regularly, you become so stocked with the stuff that you could be the 163rd CSI incarnation. I could read a piece of feminist literature and write a 5-page paper that never mentions feminism. And as long as I find the evidence for my points in the paper itself, I am in the clear. That’s the real power of liberal arts, as it is supposed to be understood. The power of being a writer with a little actual resistance in her. The power of turning post-modernism against itself and recognizing how easy it is to be right, within the framework of today’s vacated artistry and dissipated standards.

One of the first things anyone should be able to recognize from inside of the vapid collegiate gestalt is that the last thing anyone should be giving it is what it asks for. Maybe I am uniquely capable of seeing this because I am a parent: I know that you can’t raise a damn thing – child or idea or machine – by giving it what it wants. You have to give it what it needs. The university doesn’t need feminist papers or anti-feminist papers. It wants them both, though, because in either case the student is still just a wheel, safely hubbed onto the framework. What the university does need is true papers, real papers that are disinterested in social propulsion or the narrowing effects of thought-building. The university does not need to be saved by noble conservative infiltrators and their stout anti-political messaging. That’s more of the same, anyway, and absurd. It needs, like a protest needs a mute button, apolitical messaging. It needs, in short, to be made to forget about itself for a while. Again, exactly the same way that a parent knows that a child in a tantrum is best served by a distraction. The university is child to the student, and the student needs to start distracting its disobedient charge from its own illogic. You don’t do that by shouting “NO!” or by presenting oppositional logic. That just keeps the focus on the locus. Distract, distract, distract. You do it with ice cream and tickle bugs, wisdom and wit. You make it get up off the ground by showing it the sky.

But as nice as all that is to wail about for a minute, it’s only a small part of motivation. For instance, I am about to read “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” It’s a challenge that I am simply not sure that I am the master of. It’s ok, though, because again, there is a distance I can keep. A professionalism, and an artistry, even. Sometimes all it takes is is to talk to myself for a moment, and pencil up a poem to buoy me through the surf:

Every Wish has a Rider

“Your wish has been granted”
said the Genie to the girl at the protest march.
She rose,
stiffened,
hoisted her sign and
a single finger for the patriarchy
(forgetting her father)
in permanent letters
on the tip of a
long wooden shaft.
She heard herself say
“Thank you, sir.”