“The prospect of passing a night in the back woods of Indiana was by no means agreeable, but I screwed my courage to the proper pitch, and set forth determined to see with my own eyes, and hear with my own ears, what a camp-meeting really was.”
Volcanoes can destroy our cities, burn away our flesh, suffocate us with toxic gases, crush us with flying boulders. Most volcanologists keep a safe distance from their subject. But they still emerge rapt.
A “Year of Vonnegut” was declared in Indy in 2007, but that was deflated by his death that year. Given the centenary, it seemed as if there should be more going on, and that got me thinking about legacy from the start.
It was all safe as houses, and twice as fun—an opportunity of a lifetime, and powerful enough an experience that I still have a hard time overlaying it on my childhood dreams of flying in a Jenny. For now, let me say that on this day a complicated little freedom machine called the Jenny—built to aid warfare, at once fragile and powerful in its utility, and as beautiful as a moth in the daylight—transported me through time and space and let me return to people I love.
Organized religions, at least the traditional monotheistic ones, are stingy in assigning a soul (only to humans) and defining its fate (blackened by sin). They bottle up the holy water, decree which acts are sins and which are virtues, box up God in a package of their own design. Why not let divinity spread out and envelop us, until we can see some faint glow of energy even in the inanimate?
Two classic essays, “The New Year” from 1836 and “Lying Awake” from 1852, by one of the best-known novelists in the English language.
The first woman to paint the official portrait of a U.S. president, Greta Kempton also painted Cabinet officials, governors, senators, the head of the Atomic Energy Commission, two Postmasters General, a Supreme Court justice, several university presidents, and a Cardinal of the Roman Catholic Church. But what would have happened if she had painted a self-portrait?
The idea of CPAC made me sore afraid, so of course I wanted to go. I felt like the boy in the daguerreotype who has climbed a tree in order to better view the state funeral cortege.
Dying is something we all do. Saints, film stars, Olympic athletes, con artists. I feel calmer every time another cool friend pulls it off; if all these smart, funny people have managed to die, could it be so awful to share their fate? Yet much of what we call culture is created to deny death, or at least distract us from it.
The real Elvis is American, remember, and America is a consumer society. The desires we project, the stuff we buy—that is what feels real to us. It lets us have any Elvis we want. He left plenty of kitsch in his wake, plenty of pseudo-religion, plenty of Elvis jokes—but he was not, is not, a joke. He lived our contradictions, released our inhibitions, and lost himself in the process.
