Book Week #8: "Upon breach of my late vows"

     Book Week concludes today with a glance at my upcoming book. 
     The day before we left on vacation, I handed the copyedited manuscript of "Out of the Wreck I Rise: A Literary Companion to Recovery" over to my co-author, Sara Bader. The book will be published next fall by the University of Chicago Press. It's an unusual book—we use quotes, from poems, from literature, from songs, movies, letters, journals—to walk the reader through the recovery process. The quotes are not just grouped, but mortised together, one leading to the next, so they form a mosaic, tell a story. Historical figures also appear, almost as characters, to help explain certain aspects of recovery. For the key issue of relapse, we use Samuel Pepys, the 17th century English writer. This is the beginning of the introductory essay starting the relapse chapter, called "Upon Breach of My Late Vows." When we began writing the book, I didn't know anything about Pepys except his diaries contain a candid account of his life. I assumed there would be drinking, and I was right. This is the first sample of the book to appear anywhere; I'm interested to hear what you think of it.

                             . . . and so the pewterers to buy a poore’s-box

                                   to put my forfeits in, upon breach of my late vowes

                                                    —Samuel Pepys, diary entry, March 5, 1662

     The vows that Samuel Pepys, the famously frank English diarist, had solemnly made to God a few days before, and would make time and time again, were to stop drinking wine and attending plays, two pleasures entwined in his mind. Putting aside the lure of the theater—then considered practically a mortal sin—Pepys offers ample evidence that long before there was the word “alcoholism,” there was the snare of drinking and its damaging effects, the struggle to resist and the tendency of that resistance to eventually collapse.

 

Samuel Pepys

   Two and a half weeks after buying a slotted box to hold the coins he fined himself for submitting to wine, Pepys is back at it. “And so to supper and to bed,” he writes, on March 22, 1662, after reveling with several ship owners, an alderman, and a captain, “having drank a great deal of wine.”

     The problem started early with Pepys, as it often does. Almost all that is known of Pepys’s college years at Oxford is a written reprimand chiding him and a classmate for being caught “scandalously overserved with drink the night before.”

     The lure of the wine shop would dog him well beyond his college years. In his diary, which covers most of the 1660s, when he was in his late twenties and early thirties, he presents a detailed portrait of a busy bureaucrat—he was a high official in the British navy. Pepys (pronounced “peeps”) was a prominent figure in Restoration London—acquainted with both Charles II and Isaac Newton—a man consumed with desires: to earn a lot of money, to grope every pretty maid or underling’s wife who crossed his path, and to engage in a steady rondo of drinking then swearing off drinking. No detail was too trivial or too self-absorbed to escape Pepys’s attention, and shame seldom caused him to halt his pen, creating not only an invaluable historical record but also a unique portrait of a man in the throes of addiction. If there were ever a writer who conveyed the maddening, tiresome, head-on-a-board repetition of relapse, it is Samuel Pepys.

     Then and now, relapse is perhaps the thorniest problem in recovery. To acknowledge that it happens—that addicts routinely toss away their hard-fought-for sobriety—can sound to the desperate drunk trying to pick the lock on the cellar door like a kind of permission: Oh, I’m supposed to do this? It’s expected of me? Thank merciful God.

     But to ignore relapse invites the user to completely surrender after a single aborted attempt at sobriety, when usually it takes more than one, if not many tries. The mountain trail is steep and slippery. Few get it right the first time. And having gotten it right is no guarantee of future success, which is why people generally say they are “in recovery” and avoid claiming to have “recovered.”

     So the trick is to learn about relapse, then tuck the knowledge away and forget about it, like an insurance card in your wallet to be taken out in case of emergency. Hopefully you never use it. It’s far easier if you don’t have to. Then again, “easy” is not a concept of much practical use in recovery.

Saturday fun activity: Where IS this?

    This is why I hate most modern public art. The impulse to embellish public spaces that once created this amazing tableau, today would be channeled into some kind of irregular surface of broken chunks of concrete with plastic dolls embedded in them, wrapped in concertina wire and given a fey title intended to be evocative.
     I suppose it's easier, and cheaper that way....
     That said, where is this thing? I'll state the obvious: it's not in Chicago, but somewhere else. Normally I'd harbor hopes that it being outside of Illinois would be enough to gain me a few hours. But I know my Hive, and my hunch is, you'll solve this before breakfast, alas.
     Place your guesses below. Winner gets one of my 2015 blog post posters. Good luck. Have fun.

Book Week #7: "I should like to have been at Chicago a year ago"

      When the University of Chicago Press asked me to write a book about Chicago, my first thought was: "But I live in Northbrook ... and I was born in Cleveland!" Which sort of dictated how the book was written, from an outsider's perspective, about newcomers who arrive at Chicago and try to make their way.   The result was my seventh book, "You Were Never in Chicago." One essential quality is that, no matter when you arrive at the city, you are always made to feel you just missed the Big Moment. Trying to explore and, perhaps, debunk this notion, I took what were considered essential moments in Chicago history and began leaping back to see what they actually thought about the place. Guess what: they tended to look backward toward some mythical better time, too. 

     The carnation-wearers, the bamboo-cane leaners, the nudge-and-winkers, the organ-grinders, the First Ward Ball revelers, in grand procession headed by Bathhouse John Coughlin, proudly leading his “harlots and hopheads, his coneroos and fancy-men, his dips and hipsters and heavy-hipted madams” to use Nelson Algren’s piquant description, “coneroo” being slang for a con man.
     That city, that world, is gone—or so the common wisdom goes—replaced by the dull, packaged, homogenized present, our tepid moment of compromised mediocrity. The funny thing is, people always feel that way—pick whatever era in history seems most exciting, most distinctive, real and alive, then examine that period closely; you will find that Chicagoans of the time were also nostalgic, also troubled by what they considered society’s decline, also confronting a problematic present while mourning some imagined superior past. Take 1927—a giddy whirl of bathtub gin and tommy guns and flappers in sheer silk dresses doing the Charleston. Chicagoans back then were aghast at their city’s criminality.
     “We are known abroad as a crude, ill governed city. We are known for our ugliness,” Chicago treasurer Charles S. Peterson bemoaned in December 1927, when forming a committee to bring another world’s fair to Chicago—1933’s Century of Progress—in an attempt to dilute the city’s gangland reputation by recapturing the lost promise and excitement of the 1893 Columbian Exposition, a grab at the fading memory of innocent joys: the White City, the Ferris Wheel, and Cracker Jack.

   Leap back to the 1893 world’s fair, however, and Chicagoans, while certainly basking in the glow of their renewal, also despaired whether the city would prove worthy of all the attention. They worried about disease, about being up to the task of hosting multitudes, and they steeled their resolve by remembering the city’s courageous, unified, and tireless response to the Great Chicago Fire.
     “Our first duty, gentlemen of the City Council of Chicago, is to keep the city in a healthy condition, so that when the world comes here it will not enter upon a charnel house,” said mayor Carter Harrison Sr., in his inaugural address on April 17, 1893, a month before the fair opened, calling it, “the most trying period of Chicago’s history, except when the besom of destruction passed over it at its mighty conflagration.”
     Yet at the time of the Great Fire, in October 1871, Chicagoans saw not only heroism, but also a sinful city scourged. “Fleeing before it was a crowd of blear-eyed, drunken and diseased wretches, male and female, half naked, ghastly, with painted cheeks, cursing and uttering ribald jests as they drifted along,” the editor of the Chicago Tribune wrote to the editor of the Cincinnati Commercial, describing the fire. For strength, beleaguered Chicagoans recalled the difficulties of the city’s founding. “The rain that helped put out the flames created pools of mud, reminding survivors of the city’s swampy foundation,” wrote historian Ross Miller.
     But at the city’s swampy foundation . . .
     Charles Fenno Hoffman approached Chicago on a frigid New Year’s Eve 1833, five months after Chicago had incorporated as a town, at a meeting where 12 residents voted yes and one voted no. The night before Hoffman’s arrival was spent twenty miles away, east along the lakefront in “a rude cabin built of stems of the scrub pine, standing behind a sandy swell about 200 yards from shore.”
    The twenty-seven-year-old New Yorker lay huddled in a buffalo skin, with his saddle for a pillow, listening to experienced Chicago hands trade stories of the money to be made, of the “meanness, rapacity, and highway robbery (in cheating, stealing, and forcibly taking away) from the Indians.” Hoffman felt “indignation and disgust” at the practices described, but also a certain regret.
    “I should like to have been at Chicago a year ago,” he told his cabin mates.
     You get the picture. Hoffman hadn’t even gotten to Chicago yet and was already wishing he had arrived sooner—a common sentiment in an era when real estate prices could soar by the hour. There is a tendency to denigrate the present, whatever it is, because we know so much about it, while romanticizing the past, whatever it was, because its less pleasant details grow fuzzier with each passing year, accentuating the cherished highlights even more. This impulse can be particularly acute for newcomers, who missed the great era of the day before yesterday, arriving, as they must, in the confusing, compromised swirl of today, and so can be left with a permanent sense that the party is always ending just as they show up. The party is never now.

Book Week # 6 -- "The twirling universe stops dead."

     I'd never have thought to write a recovery book. Then again, I'd never have thought to go into recovery. But circumstances forced my hand — 10 years ago last week — and landed me in the middle of it. If I've learned one thing from reading Dante, it's that if you find yourself in hell, take notes.
     So I did, and wrote "Drunkard"—originally titled "Death of the Drunkard," based on a line I spied on the vaulted ceiling of a Vilnius tavern. But the geniuses at Dutton didn't want to have "death" in the book's title, not that it mattered. Not a best-seller. Though I still hear from people who were touched by the book, and that is enough. I've also heard that it's one of the few recovery books that makes a person want to drink, due to passages such as the following:

     I don't drink right away. No, no, no. That would be wrong. Overeager. As frantic as I sometimes am, staring intently at other, lesser bartenders, who often lag, too slow to notice me, too slow to get off the phone, too slow to find the Jack—there, you idiot, right there!—so slow I want to slap the bar and snarl, "Hurry the hell up!" As eager as I sometimes am, moving down the bar and dipping my head to catch their attention. As carefully as I track the composition of the drink—the glass, the ice, the booze—once it has arrived, I always pause to gaze for a rapt moment at the filled glass, the ice, the Jack, the square napkin, the dark linoleum bar. The twirling universe stops dead, the Jack its motionless epicenter. I pick up the glass and take a long draw.
     You probably do not drink whiskey. You might not drink at all—a third of the country doesn't, a statistic that astounds me, the way I am astounded by the fact that one-third of all Americans believe in UFOs and two-thirds believe in angels.
    But whiskey tastes wonderful—sweet and smoky, cold and comforting. The first sip doesn't do much but reassure you: the overture, the fugue, the opening beat of the orchestra saying, "Just wait; you're in the right place." Soon—two sips, three—the glass is half empty and the grating clank of the day begins to soften and fade. I've made it. I am rescued, plucked from the icy chop and flopped gratefully into the lifeboat, covered with a wool blanket and heading for home. 

Book Week #5: "Brother, it's a dirty one!"

     I loved writing "Hatless Jack," my exploration of the history of men's hats, using John F. Kennedy's life as a narrative arc. I felt like I was exploring a lost world, and it helped me understand the general societal trend toward individual freedom, an era of shucking of rules, including the need to wear hats. Granta brought out an edition in England that was well-received, with a full page in the Times of London Book Review. Though the book is about men's hats, not all the characters in it are men: 

     Hatcheck girls came to occupy a particular niche in American culture in the 1920s and 1930s. They were both helpful and alluring—halfway between a sister and a slut—and their toehold on the bottom rung of the nightlife world of fancy clubs and restaurants made them perfect grist for all sorts of modern Cinderella stories in books, movies, and, occasionally, in real life. A number of society matrons, such as candy heiress Helen Brach, started life as hatcheck girls....

     If checking hats was an art form, its prima donna was Renee Carroll, the "hat check queen" at Sardi's, the famed theater district restaurant in New York City. Carroll was a brash redhead with a sharp tongue and an easy manner with the rich and famous, and her methods explain why it was estimated that 99 percent of men tipped their hatcheck girls. Though not particularly good-looking, the "snap-eyed, voluble" Carroll kept her clientele in line with a careful mix of flattery and bullying. For tippers, there was the carrot of being recognized.
     "When I accept a coat," she wrote in her 1932 memoir, In Your Hat, "I look at the label immediately and read the man's name that his tailor usually writes just inside the inner coat pocket. I call the gentleman by his name and remember it afterward, refusing to give a check for his coat and insisting on knowing faces and garments every time. This, of course, flattered the gentleman who, in turn, tips better."
     For nontippers, Carroll had a ready arsenal of sarcastic lines and gestures. She would hand quarters to steady nontippers (although this did not necessarily shame them. Pulitzer Prize-winning playwright William Saroyan would wordlessly pocket the quarter, so she stopped giving it to him).
    She slathered on guilt. Hatlessness was no excuse. When French star Maurice Chevalier showed up at Sardi's without a hat, Carroll told him that she had just paid to see him in the movies the night before, and was it fair that he was now refusing to pay her the "customary fee"? Chevalier meekly went back to his car, got his hat, and checked it, tipping a dollar.
     Words were not even necessary for a hatcheck girl to make her feelings known. This is how fellow hatchecker Blanche Hollard described the reception given a nickel tip in the 1940s.
    "Some girls, however, extend the palm of their hand with the offending coin in it, and then look incredulously up at the man's face," she writes, in her own published confessions. "It most cases he immediately says, 'I get your pardon I thought I gave you a quarter.' Then, an exchange is hastily transacted."
    "If you give a hat check girl less than a quarter, she'll give you a look that you will carry around with you for the rest of your night-clubbing days," Dorothy Kilgallen wrote in 1942. "Brother, it's a dirty one!"
     Carroll had Sardi's customers so spooked that men would routinely tip her, even if they din't have hats to check. Playwright Ward Morehouse forgot to tip Carroll in his rush to make a steamship, so he sent her a five-franc note from Paris and a letter of apology.

Books Week #4: "Get on the goddamn ship, Dad!"

     "Don't Give Up the Ship" (Ballantine, 2002) was my biggest bomb. Nobody reviewed it, to my memory, or if they did, it was with a shrug. It wasn't excerpted anywhere. My parents despised it. Which seemed fitting after the difficult voyage with my father on his old ship, where he had been a radio operator in the 1950s. Writing it, I figured: "I'm 40 years old. At some point I get to just say what happened." Still, with the passage of time, I'm proud of the book, and glad I went on the trip. Or as I tell myself whenever I am tempted to bemoan the whole thing: "How bad could an experience really be where someone pays you $50,000 and you end up in Venice?" 

     The pier was hectic with a festive, summer camp sort of commotion, busy with families, girlfriends, boyfriends, and cadets—trim teens in bright white shirts and dark navy pants, their "salt-and-pepper" uniforms. They towered over their parents. Mothers held bunches of balloons. Fathers lugged big portable coolers, cases of soda, cases of juice. I worried that we were unprepared—we had no juice—and puzzled over the balloons. At least a dozen families had brought bunches of them. They seemed an odd, child's birthday party touch.
     My father stopped short and I ran thud into him, like a vaudeville act. Disentangling ourselves and our rolling luggage, I wondered, Is this how it's going to be? Frick and Frack? I looked around to see if anybody had noticed.

  Turning onto Dock 19, where the ship was tied up, I saw that the pier was named for A.F. Olivet, the no-nonsense captain during my father's cruises. I paused to make note of that, and of the dinghies moored under a protective wooden roof leading to the ship. They had bold, forward-straining names:  Courageous, Freedom, America, Magic.
     Looking up, I saw that my father, the good New Yorker, had kept walking. I called to him—"Dad! Wait!"—and he turned, "I'll go slow," he shouted back. But he didn't go slow. He strode toward the ship. I hurried after him, the luggage wheels humming against the concrete.
     I got alongside the ship, almost to the gangway, just in time to see him go up without me, lugging his suitcase, a wide smile spread across his face. He said something pleasant to the officer at the top of the gangway, and disappeared inside the Empire State. I stood on the pier a moment, shocked, then raced after him, hefting my suitcase in both hands and clattering up the awkward low metal steps. After months of arranging—the conversation, the phone calls, the formal letters, the visits—I had figured that our boarding the ship would be an obvious moment of high drama: an exchange of loving glances, a pat on the back, a shy filial smile, a fatherly ruffled of the hair, a deep breath and up we go together, arms linked. Ta-daaaaaah!
     Not in this life.
     "What's your hurry, sailor? I hissed, out of breath, catching up to him at the cabin, C1, marked by a note card reading MR. STIENBURG SR. and MR. STIENBURG JR.
     He offered this explanation: he wanted to get his suitcase aboard before the tide came in, raising the angle of the gangway, making it more difficult to walk up. He actually said this. Stunned, I turned away, puzzling whether his excuse was a mountainous lie or, worse, a sincere delusion.

Bold adventurers

     I stood in the bathroom and looked at myself in the mirror: how was I going to do this? Six weeks with my father. A month at sea, then ten days in Italy. We'd kill each other. Or I'd kill him. Or myself. Or he'd kill me. One way or another, somebody was going to be killed.
    Then the anger, a hot fluid at the back of my brain, drained away, and I almost laughed—the tide, so ridiculous—and I remembered that, up to this moment, I had been genuinely worried my father wouldn't get on the ship at all. That despite his promise, when the moment finally came, he would freeze up in the gangway. Many times I had imagined, not entirely without pleasure, him grasping the handrails, white knuckled, rigid, me behind him, ramming the heel of my hand into the small of his back, forcing him forward, "get on the goddamn ship, Dad!"
     That had been the preconception. The reality was 180 degrees opposite. Instead of hanging back, fearful, needing a shove, he had raced ahead, excited, forgetting all about me. Realizing this shocked away the anger. It struck me that, all all these years, I didn't know my father at all. Not a bit.

Book Week #3: "Do you have any identification?"

     "The Alphabet of Modern Annoyances," true to its name, was a pain in the ass. My long-time editor and, I imagined, friend, went our separate ways because of it. The 1996 collection of 26 essays about the frustrations of life only received a few, largely dismissive reviews.  It didn't sell that well, though "F is for Fat" was excerpted in the Sunday New York Times Magazine, which was a consolation prize.  The chapters I most enjoyed were those panning Disney, Elvis and UFO fanatics, but the beginning of the "J is for Journalism" chapter resonates, particularly given my post last week on trying to do a story about the Chicago Public Schools. It never ends. 

     Maya Angelou is filled with joie de vivre. She strides onto the podium of the Hyatt Regency Hotel and begins to sing. "I shall not be moved. I shall not be moved. Just like the tree that's planted by the water, I shall not be moved."
    Her voice is deep and strong. She then begins to talk, telling stories, reciting her poetry. You are powerful, she tells her audience. You are beautiful.
    The crowd eats it up. They roar, these two thousand women attending a national women's conference. They applaud. 

    Sitting in the back, hunched in a dark corner of the huge ballroom, I scribble a few of Angelou's more succinct comments onto a narrow pad. I didn't want to come here—had felt that sinking sensation I get when given an assignment I consider to be a dog. But now that she's up there, singing, reading, speaking, laughing, the whole process is so skilled, so entertaining and, yes, so uplifting, that I am having a good time.
    Maya Angelou is finished. She is escorted from the stage. The two thousand women finish clapping and make for the exists. I have one more task. Journalism has conventions as strict as kabuki, and a story of this sort, the "Famous poet speaks here" story, must end with a blurt of audience reaction: "It was great," said Jane Doe, dabbing a tear form her eye. "I greatly enjoyed the greatness of the great Maya Angelou."
     I pick  a women at random—somebody pausing, a straggler from the herd. "Hi, I'm Neil Steinberg," I say. "I'm a reporter from the Sun-Times. I'm writing a story about Maya Angelou's speech and I wonder what you thought of it?"
     She flees without a word, just turns and rushes away, as if I'm a panhandler. So does the second woman I ask. This leaves me frustrated and a little angry. There is an inverse law in reporting—the more benign the information you are seeking, the more difficult it will be to get. When I stopped hookers on Cicero Avenue, every single one, without exception, told me anything I wanted to know—about their neglected kids, their raging drug habits, how much money they charge for sex.
     But these professional women at the Hyatt don't want to talk. I have no idea why. Overeducation? They know what happened to outspoken people during McCarthyism. Prudence? They see the villains who unwisely consent to be grilled like burgers by Mike Wallace on "60 Minutes" every Sunday, indicting themselves, babbling, ruined. Professionalism? They are trained not to speak to the media—"Call public affairs, they'll answer your questions."
     Or maybe they're just struck dumb by Maya Angelou's eloquence. The third woman I approach and ask about the speech doesn't run away, but she doesn't answer either. She just stares at me, with the startled expression a frog must give a swooping raptor. So much for Angelou's brave words about romance and beauty and power.
    There is a pause, the woman and I looking at each other. Then I do something I haven't done before or since in my entire professional career. I raise my hand into the gap between us and snap my fingers three times in front of her face.
     "Hel-lo!" I say, and she unfreezes, utters a syllable or two, then runs away.
    That's it. I figure, I'll do without the quote, or use the woman's monosyllable. I tried, which is the important thing in journalism.
     Outside, a lovely autumn day. I stroll west on Wacker Drive, toward the newspaper. On a corner I encounter a knot of three women, talking to each other, still holding programs from the conference. Okay, I decide, the full Boy Scout try I whip out my notebook, uncap a pen, present myself to the group and utter my burning question. There is a pause.
     "Do you have any identification?" one of the women asks.