Author: whenicometobeold

Addendum to “Old Parents and Prodigal Children”

After I wrote “Old Parents and Prodigal Children,” I recalled two other great portrayals of prodigal sons and older fathers in recent literature.  The first is the wonderful Atticus, by Ron Hansen.  Atticus, in his sixties, has an older son who is a successful politician.  And then he has Scott – who was recklessly driving the car that took his own mother’s life, who cannot seem to stay stable in body, mind, or place.  Whom Atticus loves deeply.  And who keeps coming home. Hansen parallels the Bible parable with a twentieth century family drama, even making real the phrase from Luke: “It was fitting to make merry and be glad, for this your brother was dead, and is alive; he was lost, and is found.”  Scott is indeed thought to be dead, he himself conspires in this cruel deception, and yet Atticus, when he finds out that his son still lives, rejoices and welcomes him back, he “rushes out to greet him.”  Again.  And the reader is fairly sure that this will not be the last time.

The other story of a prodigal son spans all of Marilynne Robinson’s books about Gilead, Iowa (Gilead, Home, Lila and Jack).  Jack is the always disappointing son of the town’s Presbyterian minister, named for and godson of Gilead’s Congregationalist minister, and an enigma and a challenge to all who know him.  As he is dying, Jack’s father tells his son, “So many times, over the years, I’ve tried not to love you so much.  I never got anywhere with it, but I tried…”  And therein lies the problem.  Real love is not easily undone.  There is a nobility in the parents of prodigals, but I just wish it was not so hard on them.

In an interview with the New Yorker in 2020, Marilynne Robinson explains how she sees the parable of the Prodigal Son.  “I believe the parable is about grace, not forgiveness… the father loves the son and embraces him right away, not after any kind of exchange or apology.  I don’t think that is forgiveness – that is grace.” 

And what is grace?  I have seen it defined as the opposite of karma – rather than getting what you deserve, you get an undeserved gift.  But it would seem that, at some point in life, grace might fall on the shoulders of the parent, as well as the child.  But, again, grace is not something we can earn, even though it is something we can bestow.

 

Old Parents and Prodigal Children

Perhaps the story of the Prodigal Son means something different when we are old.   Will we take our children back when they fail or falter?  How many times?  With or without their children in tow?  In the story of the prodigal son, we are left to think that everything ends up ok – except perhaps, for the resentment of the older and more responsible brother.  The story (from Luke 15) ends with the father telling his “good” son why he has killed the fatted calf for his wayward sibling:

 And he said to him, ‘Son, you are always with me, and all that is mine is yours.  It was fitting to make merry and be glad, for this your brother was dead, and is alive; he was lost, and is found.

But in real life, this is seldom the end of it.  Does the prodigal son stay on the straight and narrow or does he wake his father coming in drunk every night?  Has he sired children that are looking for support?  If he runs away a second time, will he be taken in again? In “Death of the Hired Man,” Robert Frost said that: “Home is the place where, when you have to go there, /They have to take you in.”

How many times?  How many fatted calves? How much money?  How much heartache?  Surely, parenthood is a lifetime job, but we protected them when they were vulnerable – who is protecting the old couple who have frayed their nerves and spent their nest egg for the prodigal son or daughter who just keeps returning?  It is surely a question for our time.

Recently, I mentioned the story of the prodigal son to a parent who has had to exercise some tough love with an adult child, but seems to feel painfully guilty about it.  She pointed out to me that the father in the story represents God, not a typical parent.  Ah, I sighed, you are surely right.  But don’t we all see that gracious parent in Luke as the model of the endlessly forgiving parent?  Killing those fatted calves whenever there is a glimmer of light?

Because, here is the thing.  It is terribly difficult to renounce parenthood.  Harder than divorce, harder even than becoming estranged from your parents.  Your children can cut you out, but it is extremely difficult to cut them out – even when you have run out of energy and fatted calves.

There was a grand essay by Rebecca Solnit in Harpers entitled, “The Mother of All Questions.”  The question she poses is whether to have children.  (She has none.) And, of course, this is a weighty question, particularly in these days of economic distress and climate crisis.  But, when most of us made the decision to procreate (or neglected to make it and just let nature take its course), we were not possessed of our full maturity or even our right minds.

So here is the harder question: “Is it ever too late not to have children?”  To cut yourself off from your children?  Or, less extreme, is it ever too late to not make parenthood a primary identity?  Not to feel like we have to have the patience of the prodigal’s father, of Job, of God, in the face of the relentless demands of adult children?  It is not a question I have had to answer in any but the most minor ways, but I have watched the anguish that prodigal sons and daughters, grandsons and granddaughters, can cause.

Here is another strange thing.  There are few novels, plays, or poems about good parents with bad children.  There is Balzac’s Pere Goriot, William March’s The Bad Seed, and a few other horror stories – however, novels and poems about bad parents abound. (Think of Philip Larkin’s wonderful “This Be the Verse.”)  Culture is on the side of the children.  While our offspring are children, that is the way it should be.  But what about when they are fifty and we are seventy?  There is no right answer to this question, but I find myself with great empathy for those who are asking it.

For a view of differing attitudes toward parents, you could try my story “Tale of Two Grannies” or look at “Snickerdoodles.”  Neither of these tales, however, depicts the extreme situations I am discussing.  It is probably no accident that most of the stories of “bad children” are tales of horror.  Again, I empathize and only hope it is never a situation I experience.

New Year’s Re-Solutions

Those of you who have been following me for the past six years, know that I have written many times about old age and the New Year – I recommend particularly “Baby New Year and Old Father Time” and “New Year’s Resolutions in Old Age.”  This blog – When I Come to Be Old –  is titled after a list of resolutions that Jonathan Swift wrote in 1699 when he was a young man; one of them, of course, is “Not to tell the same story over and over to the same people.”  So I will refrain from repeating my previous comments about the year becoming new as we continue to get old.

However, I did have some thoughts about New Year’s resolutions.  Every January, I fill a page of my journal with new resolutions.  I falter on some, but I keep many.  I haven’t missed a day of French on Duolingo since last January; I have read the books I promised myself to get to.  But even re-solutions kept are not solutions.  It is right in the word.  Resolutions are things we have to do over and over again, trying to find a way to make life better (or longer or more fun).  Maybe the most effective resolution is to come to a sense of peace with our life as it is.

I did write a new story for the new year, “Hallelujah, It’s a Mouse,” which is – in a way – about new beginnings.  Happy New Year to all.  I wish us all peace and solutions.

Looking Back on Childhood’s Eden

There is much debate in Buddhist circles (at least among the unenlightened) as to what enlightenment or nirvana would look like.  There is a similar debate in Christian circles about the nature of heaven.  Carl Jung had no doubt that it consists of going back to the childlike wonder we had about the world when we were very young, and Jung maintains that this is particularly important in our elder years.  “Proper development in the last part of your life is to rediscover the child you left behind when you commenced your apprenticeship.”

Who is the “child you left behind” before you embarked on your apprenticeship of fear and sophistication? How far back do your earliest memories go?  Psychologists used to say it was four or five years old, but now have pushed it back as early as two and a half.  Lots of us have what we think are very early memories, but turn out to just be recollections of experiences we were told about in our childhoods.  A more important question might be: what did your earliest memories consist of?  For most of us, the world of our childhood was full of bright colors and smells and fascinating experiences. While childhood is a world that fades, it is surely worth recalling.

Wordsworth famously struggled with this in his “Intimations of Immortality from Recollections of Early Childhood:”

There was a time when meadow, grove, and stream,

       The earth, and every common sight,

                          To me did seem

Apparelled in celestial light,

            The glory and the freshness of a dream.

It is not now as it hath been of yore;—

                      Turn wheresoe’er I may,

By night or day.

The things which I have seen I now can see no more.

Novelists too have tried to grasp what has been lost in the accumulations of time.  In the beginnings of both Great Expectations and David Copperfield, Dickens has his main characters struggle to recoup old memories:

This may be fancy, though I think the memory of most of us can go farther back into such times than many of us suppose; just as I believe the power of observation in numbers of very young children to be quite wonderful for its closeness and accuracy. Indeed, I think that most grown men who are remarkable in this respect, may with greater propriety be said not to have lost the faculty, than to have acquired it; the rather, as I generally observe such men to retain a certain freshness, and gentleness, and capacity of being pleased, which are also an inheritance they have preserved from their childhood. (from David Copperfield)

Then there is James Joyce at the beginning of Portrait of an Artist, talking about memories of “moo cows” and recalling his earliest sensations: “When you wet the bed, first it is warm then it is cold.”  Recently, I read Donal Ryan’s Queen of Dirt Island, which begins with the major character’s earliest memories, when “she was four…, or maybe just turned five.”  The memories then presented are technicolor scenes of grass and cherry blossoms.  Early memories are often magical in sight and sound.  The world was new to us.  In many ways, children are all Adams and Eves waking up to the delights of Eden.

And then there is a story in Sigrid Nunez’s new book, The Vulnerables, about a mother who started to act differently just before her totally unexpected death, in her premonitions acting in a childlike manner:

Whenever I [her daughter] came to visit, we usually took an afternoon walk, and that’s when I noticed something else…Mother kept stopping to point things out – Christmas lights on a neighbor’s house, clouds, squirrels scampering – as if she had never seen such things before.  It reminded me of going out with the kids when they were small and all the world, even the most ordinary things, made them gape. (31)

How wonderful to return to a world where everything can make us gape.  But how to do it?  We all, sometimes, want to return to our childhood Eden, but it is not easy.  James Baldwin puts it best in Giovanni’s Room:

Perhaps everybody has a garden of Eden.  I don’t know; but they have scarcely seen their garden before they see the flaming sword.  Then, perhaps, life only offers the choice of remembering the garden or forgetting it.  Either, or: it takes strength to remember, it takes another kind of strength to forget, it takes a hero to do both.

Jung says it is worth the effort to remember. He claims it is the way we were meant to live – not in childish ignorance, but in child-like wonder.  As Wordsworth goes on to say:

 Though nothing can bring back the hour

Of splendour in the grass, of glory in the flower;

                      We will grieve not, rather find

                      Strength in what remains behind…

It is there, this child-like wonder, in all of us.  It sometimes surfaces in dementia, sometimes a brain injury loosens the gears.  I knew a middle-aged physics professor who had a bad bicycle accident and suddenly began singing the Polish lullabies of his very early youth, before Hitler’s Nazis drove his family out of Europe.  But it is not entirely a matter of memories, I think.  It is a matter of attitude, of what stance we take in this world.  Or refuse to take.

My story, “Like Heaven,” is about an old woman conflating her childhood with her current situation.  Perhaps, in her case, childhood turns out to be the better place to be.

A Last Transitioning

I just returned from visiting a ninety-eight-year-old relative who, although she is weak and has been under hospice care for many months, has never spoken of her own death in my presence. She has never acknowledged her mortality in any way.  However, since the last time we were with her, she has learned a new word for what she feels she is going through: transitioning.  She affirmed quite emphatically that she was in the process of transitioning, that she would be transitioning soon.  There was never any discussion of what she would be transitioning to, but that didn’t seem to matter.  I guess transitioning seems less terminal, more transitive.  For whatever reason, it is a concept, a term, that she is comfortable with.

This terminology, however, made for some humorous conversations. I heard her, for instance, leave a phone message for a financial manager telling him that she wanted to talk to him because she would be “transitioning” soon.  In this day, when “transitioning” is usually used in a different context, it might make people who don’t know her well wonder if she is having a deathbed gender conversion.  But I don’t mean to make light of it; I am grateful that she has found a word to describe her experience, a word that she can be comfortable with.  And the end of life is surely an ongoing transition which must be borne, appreciated, accommodated.

Our culture has many euphemisms for death; Wikipedia can give you more than fifty.  Many have religious connotations: “going to heaven;” some are earthy: “kick the bucket;” some are transactional: “checking out.”  But we are loath to look at death directly.  Irvin Yalom, my favorite psychiatrist/author, wrote a book entitled Staring at the Sun: Overcoming the Fear of Death.  The title comes from a quote from La Rochefoucauld: “You cannot stare straight into the face of the sun, or death.”   Yes, and despite the optimistic title of Yalom’s book and the advice he provides, facing our mortality never seems to get much easier.

Literature gives us many images of death, with deathbed scenes ranging from the horror of Tolstoy’s Ivan Illich to the sweet demise of Dicken’s Little Nell.  But, today, I am more interested in poetry, and no one can confront the truth like Philip Larkin.  He wrote an aubade, a poem about early morning hours in bed, in which he talks about lying in the dark facing “the dread of dying, and being dead,” thoughts which “hold and horrify.”  Aubades are usually romantic poems, about lovers having to leave each other at sunrise after a blissful night.  Larkin fixates only on his fear of having to, inevitably, leave life.

In time the curtain-edges will grow light.

Till then I see what’s really always there:

Unresting death, a whole day nearer now,

Making all thought impossible but how

And where and when I shall myself die.

Arid interrogation: yet the dread

Of dying, and being dead,

Flashes afresh to hold and horrify.

I have known people who claimed they had no fear of death; I never believed them.  I know other people who say they are afraid of the process of dying, but not death itself.  I can almost believe them.  Clearly my skepticism is deeply colored by my own fear of annihilation.

There are other views of death in poetry.  Stevie Smith calls death “Black March” in her poem of that title; she thinks of death as an “old friend,” “a breath of fresh air,” “a change.”  She looks forward to thinking of a visit from her old friend; she seemingly cannot face life without knowing he is somewhere, cloaked in grey chiffon, waiting for her.  “I have a friend/ At the end of the world. / His name is a breath/ Of fresh air.”

And then there is Robert Louis Stevenson, who spent most of his life struggling gallantly with tuberculosis, but has no intention of resisting death when it comes:

Under the wide and starry sky,
Dig the grave and let me lie.
Glad did I live and gladly die,
And I laid me down with a will.

I may never have Stevenson’s openness to death, but I sincerely hope to have Stevie Smith’s confidence that, at some point in my life, death will be a friend.  And I will lose my fear about a final transition.

If you want to contemplate death through some of my fiction, you might try “And Now, A Word from Dead Barry,” or “Tale of Two Grannies.”

I Am What I Am

 

When I was a small child in Rhode Island, Salty Brine and his collie named Jeff hosted a children’s program which, among other entertainments, ran the black and white cartoons of an indomitable, spinach-eating sailor.  Popeye had made his own peace with life and sang out his philosophy: “I am what I am and that’s all that I am, I’m Popeye the sailor man.”  Of course, in Popeye’s seagoing dialect, it came out “I yam what I yam,” which is how Robin Williams sang it when he played Popeye in 1980.  As a child, I loved Popeye and hated Bluto.  Life was simpler then.

But the phrase, “I am what I am,” has been rattling around in my head again lately.  It is, of course, primarily Biblical.  When Moses beholds the burning bush and talks to his Maker, he is concerned about how to convey the reality of his theodicy to his fellow Hebrews. “If I come to the people of Israel and say to them, ‘The God of your fathers has sent me to you,’ and they ask me, ‘What is his name?’ what shall I say to them?”  God said to Moses, “I am who I am.”  Then, in case Moses is still confused, God adds: “Say this to the people of Israel, ‘I am has sent me to you.’”  Poor Moses took this strange message down to the people.

We get the phrase again in the New Testament – this time from Paul in his letter to the Corinthians.  “But by the grace of God I am what I am, and his grace toward me was not in vain.”  Paul is talking about the fact that Jesus appeared to him on the road to Damascus.  It seems a strange statement, for surely we all are what we are?  What does he mean?  One might wonder.  Ben Franklin seems to have his tongue firmly in his cheek when he asks: “I am what I am and that’s all that I am and if I’m supposed to be somebody else, why do I look like me?” 

But the speaker of this phrase that I have mostly been fixated on for the past week is that of Jonathan Swift.  As many of you know, I have spent much of my life pondering Swift; this blog is titled after his own resolutions about old age. But that list was compiled long before Swift entered his own raving and often very public senescence. Here is a story from the year before he died, recounted by his grandnephew, Deane Swift:

On Sunday the 17th of March [1744], as he [Jonathan Swift] sat in his chair, upon the housekeeper’s moving a knife from him as he was going to catch at it, he shrugged his shoulders, and rocking himself, said I am what I am, I am what I am: and, about six minutes afterwards, repeated the same words two or three times over.

Swift’s cry seems to erupt from someone who does not feel understood and yet wants to be accepted. It is the cry of someone who has changed beyond even his own recognition, but wants to find peace.   Swift raged in Biblical language because it is his language – he is the Rector of St. Patrick’s, after all, and well steeped in the King James Bible.  While God knows that Moses can never understand God’s nature but yet wants a relationship with him, Swift cries out in the same way to the people around him.

 Jorge Borges was also intrigued by Swift’s words.  Borges lists the following possibilities: “He may have felt, I will be miserable but I am, and I am a part of the universe, as inevitable and necessary as the others, and I am what God wants me to be, I am what the universal laws have made of me, and perhaps To be is to be all.” Borges combines these interpretations with the inclusive and; all possibilities are accepted (including that of being miserable) and all possibilities include acceptance of the inevitable.  One might take this existential statement to indicate that Swift has accepted his fate, the face in the mirror.  But he does not necessarily like it.  While God’s “I am” is presumably a statement of changelessness, Swift’s is perhaps the acceptance of change.  When Swift was a bit younger, he told a fellow writer that he was like some trees, in that he would “die from the top.”  One might wonder if he knew what was happening to him.

I think that “I am what I am” is a strong phrase, but it is painfully close to a phrase I hate: “It is what it is.”  When the latter slogan became ubiquitous at the turn of the twenty-first century, the word-czar William Safire coined the term “tautophrase” to describe such a self-evident statement.  “Facts are facts,” “what’s done is done,” and “it is what it is” are all inane tautophrases.  And so is, “I am what I am.”  And yet.  The phrase elicits some essence of our being that withstands age and circumstance.  It also calls for acceptance of all these things: our essence, our age, and our circumstances.  “I am what I am,” says the old lady.  “Obviously,” says William Safire.

 

Old Age, Jonathan Swift, and Me

When I was in my fifties, I decided to finish my doctorate in English literature.  I was working in college administration as a Chief Financial Officer, and had accumulated a BA and MA in literature, an MBA, and completed various coursework and other prerequisites for a PhD but realized that I would need a year or two of full-time effort to complete coursework and a dissertation.  I had the good fortune of being able to do this, and I joined a small cohort of much younger students in trying to complete this hurdle (more on that cohort later).

I decided to research the changes (as I perceived them) in the portrayal of old age in literature during the Enlightenment era (sound impressive?), and I elected to do this through the lens of a writer who experienced an infamous old age himself, and who wrote his most famous book at about my age – Jonathan Swift.  During Swift’s lifetime, science was turning old age from a theological phenomenon to a pathological one; statistics of life expectancy were just beginning to be accumulated, and increasing literacy was displacing old memories as the source of history and information.  It turned out to be an interesting study (abstract found here).  Now, almost twenty years later, I find myself revisiting some of my conclusions and wondering if I would have a different perspective now.

I might have been middle-aged when I finished graduate school, but being thrown in with a cohort of twenty-somethings made me feel older.  I never felt that they were that much brighter than I was (although some surely were), but I was massively more effectual.  I turned papers in on time while my classmates had a sea of incompletes.  I got my dissertation chapters and rewrites to my committee faster than they probably wanted and had no problems ticking off the hurdles to getting to my final defense.  I researched all my own citations and even word-processed my final document myself (in compliance with the University’s picky standards).  Research and study were so much easier than working that it was during this period of time that I also started writing fiction.  It was a happy time.

The issues of aging I identified in Swift’s writing and in his life are still with us.  Gulliver’s episode with the immortal but aging Struldbruggs depict what happens when longevity outraces competence, when technology, language, and culture leave the long-lived behind.  The Enlightenment era saw the first spate of self-help books on extending one’s life span and the implied assumption that, perhaps, the length of your life span was within your control and not necessarily the total prerogative of the Almighty.  Swift himself lived to be 77, and before he died, he lost most of his friends, his lady-love Stella, and just enough of his mind that he had trouble communicating but seemed to be aware of that sad fact.  Swift was a difficult character all his life, but, as I age, I have more sympathy for him. When he was sixty-four, he wrote his own humorous elegy in almost 500 lines of rhyme, “Verses on the Death of Dr. Swift.”  The poem is hilarious and humbling.

Besides, his memory decays:

He recollects not what he says;

He cannot call his friends to mind:

Forgets the place where last he din’d;

Plies you with stories o’er and o’er;

He told them fifty times before.

How does he fancy we can sit

To hear his out-of-fashion’d wit?

Swift was not overly lovable, but how can you not have a soft spot for a man who looks so calmly into the face of the eccentricities of his own old age?  I ended up being fond of the pompous old geezer and was loathe to part with him when my academic work was over.

I turned some of my knowledge of Swift into a draft novel, What Shall I Say First?   In it, a middle-aged academic is visited by the ghost of the old Dean himself.  But again, this was written a number of years ago.  I may revisit that manuscript and my dissertation to see if, twenty years later, Jonathan Swift, Dean of Saint Patrick’s, has anything new to teach me.  Can old dogs teach old dogs? Stay tuned.  Meanwhile, read the Struldbrugg episode in Gulliver’s Travels (Part III, Chapter X) and see if you don’t relate to their feeling of being “foreigners in their own country.”

Still Crazy After All These Years

Two related questions have nagged at me during one of those inescapably bad weeks.  To wit:  1) Does an individual life have any pattern, theme, or meaningful narrative?  2) Does anyone ever really change their basic nature?  These are eternal questions, posed by thinkers from Saint Paul to Pogo.  I ask myself these things as I inexplicably continue to make the same kind of mistakes I have always made.  Has living a long time taught me nothing?  Sometimes it seems so.

Our culture has a penchant for Bildungsromans, stories about the coming of age of young people. These youngsters (usually lads) go through scrapes and adventures and learn lessons along the way.  One might think of David Copperfield or Catcher in the Rye in this regard.  But these books often end when the protagonists are young adults (and usually with marriage if the character is a young woman), and I doubt anyone that young has ever learned anything really important (look around).

Then there are the less common Vollendungsromans, tales of the coming of old age and death.  Again, lessons are learned, the principal one being how to die.  One might think of Robinson’s Gideon or Sackville-West’s All Passion Spent.  The point of all these life stories – young or old – seems to be that life has some kind of meaningful narrative and we discern patterns and “better ways” as we gain years and experience.  And yet in my old age, I – like Saint Paul – sometimes wonder why “I do not do what I want, but I do the very thing I hate” (Romans 7:15).   There are certainly times when, at three in the morning, I cannot help but think that my life is not a meaningful narrative, but simply a vicious rerun of my most egregious character traits.  (As I said, it has been a bad week.)

One person who pondered the nature of the life story was Arthur Schopenhauer.  He authored an essay with the weighty title: “Transcendent Speculation on the Apparent Deliberateness in the Fate of the Individual.”  (Maybe it sounds more interesting in German.)  It is, nevertheless, a fascinating piece of work.

Schopenhauer starts out by admitting that almost everyone believes that:

…the course of an individual’s life, however confused it appears to be, is a compete whole, in harmony with itself and having a definite tendency and didactic meaning, as profoundly conceived as is the finest epic.

He finds this true in almost all cultures.  In some societies, this “course of life” is ascribed to fate or providence; in others, it is seen as the inevitable result of maturation, education, and goal setting.  But, in the end, Schopenhauer thinks that it is mainly a matter of inborn character:

The systematic arrangement, here mentioned, in the life of everyone can be explained partly from the immutability and rigid consistency of the inborn character which invariably brings a man back on to the same track.

What is not determined by character is determined by outside events – which then interact with character.  Some 2,500 years ago, Heraclitus observed that “character is destiny.”  Schopenhauer seems to agree.

As a person who keeps a journal and believes writing one’s life “story” is therapeutic, I find this unsettling to think about.  Maybe Schopenhauer was right.  What, perhaps, we are trying to discover in our life review, are simply those permanent traits of character which make us keep playing the same scenes over and over again.  Rather than living out a comprehensive life plan, these traits might simply keep us, as Paul Simon puts it, “still crazy after all these years.”

Or maybe I’m wrong.  Ask me again when things in my life are going better.

Meanwhile, I also drafted a short story on this subject, provisionally entitled “Life Stories.”  Don’t take my chatter too seriously – I am as capable as the next person of seeing my life as an ongoing epic (or soap opera).

Some (New) Mysteries of Old Age

I recently read two new murder mysteries involving old people sleuthing – the plots were amazingly similar, but the attitude was quite different.  It is worth considering the portrayal of old age in one of my favorite genres.

The two murder mysteries both concern the death of elderly people – intended and unintended.  In The Sunset Years of Agnes Sharp by Leonie Swann, a self-made community of elders provides euthanasia services for one of their members, by (as she requested) shooting her when she wasn’t expecting it.  The plan goes astray when someone else gets the gun and muddies the waters by shooting unintended victims.  Since the gun belongs to one of their own, the senior community has to solve the crime before they are suspected – and they have to do it without admitting to their own involvement in the first death.  A little complicated, but it is made more so by the fact that almost all the older characters are… muddled.  Now a lot of us are muddled on occasion, but such confusion seems to define these characters – who are, to be sure, muddled in a variety of ways. In one scene the oldsters are about to go into the funeral of one of the victims, when one of them refuses to go in because they are wearing hats, and she does not have one.  “Nobody wanted to give up their hat, so they continued to stand around the taxi at a loss.”  The poor soul ends up wearing a tea cozy for a hat.  Cute, somewhat funny, but not much of a compliment to the characters.

In Leonie Swann’s previous mystery, which I liked very much, the detectives were a herd of very bright and interesting sheep – for the most part.  Some were – well – stupid and silly, but I took no offense when Swann portrayed foolish sheep.  She should have stuck to animals. Please note that The Sunset Years of Agnes Sharp got marvelous reviews, so I am in the minority on this.  And it is a good story, a good read, and while I do not have any trouble acknowledging the quirks of elders, I do object when realism tips into caricature.

Richard Osman’s The Last Devil to Die is the fourth and latest installment in the “Thursday Murder Club” series.  Again, we have a carefully planned act of euthanasia, but it is a side plot and there is a careful line drawn between the undesired deaths and the desired one. Osman’s seniors are so skillful, that they have the local police working for them, and while they have their quirks, they are not strictly old folk quirks.  And yet, as one of the characters puts it, they work with the “urgency of old age.” The most touching thing is the camaraderie among them; they help each other out in mechanical and emotional ways and show the very best of what an elderly community can be – discounting the murders, of course.

One point here about the old in both of these novels – they must depend on one another.  When their children appear on site, things deteriorate badly.  Grandchildren are fine if they are young and not in the company of their parents.  But there is a consistent despair in relying on the next generation, and greater comfort in people that understand the joy and anguish of getting old.  Both authors sympathetically explore the issue of euthanasia, although Osman gives us the more realistic and rounded view of the complexity of end-of-life decisions.

But back to my review of these mysteries.  My opinion here is not that either of these mysteries is bad; but there is a difference between having protagonists who happen to be old and spinning your plot around the quirks of bumbling elders.  I do not mind oldsters in books who have senior moments or balance problems; I object to portraying these realities as silly.

Neither of these authors is aged; Swann is in her forties and Osman is in his early fifties.  Many mystery writers, like Agatha Christie and Ngaio Marsh, wrote well into their eighties, and for a model of senior detectives, no one can beat Miss Marple.

I have written very few mystery stories, and none involving the elderly, but if you have my predilection for the unsolved problem, you might enjoy “Essentials” or “No Change Orders.”

Puttering Around

When I was a child, my father “puttered” in his free time.  This had nothing to do with golf; it had a lot to do with a form of relaxation we don’t see much of anymore.  The extinction of puttering has a lot to do with some fundamental changes in our lifetimes.  Let me explain.

To putter is defined thus: to busy or occupy oneself in a leisurely, casual, or ineffective manner: e.g. to putter in the garden.  Leisurely, casual, and especially ineffective.  In his puttering, my father considered many projects and chores; few of them materialized. Puttering was not meant to be productive; it was meant to be an antidote to hard work and productivity.

My father had special clothes for puttering.  He wore, for years and years, the army fatigues he had brought home from his stint in the military sometime between WWII and Korea.  Those clothes lasted forever and were eventually stained by every kind of oil and paint known to our household.  Long after the shirts fell apart, the pants remained.  Dad called them his “putter pants.”  Now, there are “putter pants” on the market, designed with an elastic waist for old guys.  It would have been anathema to my father to buy something special to putter in.  When the last of the “military” putter pants bit the dust (probably disappeared by my mother), he started buying putter pants at tag sales – castoff military wear if he could get it.

Dad puttered on weekends and most of the summer.  (He was a college professor.)  He made no lists, but just wandered from one thing to another.  It was therapeutic rather than effective.  He would do it alone or with a child.  His grandchildren enjoyed puttering with him until they reached puberty, then they had “better” things to “do.”  So, Dad went back to puttering alone.  Such puttering is a lost art.

Dad sometimes did more than putter – in his younger days, he built two houses and repaired our cars and boats.  But when there was not something special and demanding on his plate – he puttered.  You could tell he enjoyed it because he sang or hummed the whole time.  Frank Sinatra and Patti Page hits when I was young; later it was Roger Whittaker.

I thought of this recently when I came across an article about Jeff Bezos and his habit of rising early and “puttering” until 10AM.  Good for him.  But the gist of the article was that Mr. Bezos was sure that his puttering made him more effective and more creative.  The author of the article tried it, and, sure enough, it helped him get things done.  I guess everything has to serve the Goddess of Productivity.  But that is not what puttering is supposed to be all about.  It is not supposed to be scheduled or weighted for effectiveness or participated in wearing specially designed pants.  Thoreau (one of the great putterers) would certainly assure us that there are not supposed to be new clothes for it.

Men of my father’s generation puttered.  What do they do now?  Is surfing the net or watching nonstop sports or playing video games the new form of puttering?  Do women putter?  I do it on occasion, but not with the joie de vivre and lack of purpose with which my father did it.  Even in retirement, I find myself pondering whether there is something specific I should be doing, somewhere I should be, some news I should catch up with.   Even if I am willing, even eager, to be decadent, there are many alluring alternatives calling to me – funny videos, silly text exchanges, countless errands.  I hope we have not lost the art of puttering – for it is an art.  And art is done for art’s sake.  It is not supposed to be a productive activity in any way – Jeff Bezos notwithstanding.

Perhaps this piece of writing is an example of puttering.  You might also look at an example of my puttering at fiction.  Talking about Thoreau and the advent of autumn reminded me of “Again and Again and Again.”