Losing Touch

I showed up at my first dress rehearsal as a member of “The World of Mime,” my high school’s mime troupe, wearing the requisite costume: black turtleneck shirt, black tights, black ballet slippers. Mr. Lawrence, the drama teacher who led the troupe, asked me whether I was wearing a dance belt.

“What’s a dance belt?” I asked.

“It’s like a heavy-duty jockstrap,” he said. “What do you have on under there?”

“Just underpants,” I said uneasily. I didn’t mention that I had carefully dyed my tighty-whities black so they wouldn’t show through the tights.

“Beth! Ruth!” he called out to two veteran members of the troupe. (Ruth’s full name was actually Ruth Ann, but she’d resigned herself to being known simply as Ruth.) “Take him to the Capezio store and get him a dance belt!”

Ruth Ann was a senior, and thus had a car. Beth, a junior, was there for moral support. We were already friends, having worked on several shows together. I was totally comfortable with them, especially with Ruth Ann. She was warm and empathetic, the kind of person who would take your hand when she was talking with you. She and I both wrote songs, but hers were lovely, slow, and pensive, while mine were fast and funny. Each of us envied the other’s writing style. We once got to collaborate on a song for a musical, and the experience was an awakening — I’d never felt so totally embraced by another person. I was secretly, totally in love with Ruth Ann.

After a 15-minute drive, we walked into the dancewear store, and I approached the clerk at the counter. “I’d like to get a dance belt,” I said.

The clerk politely replied, “What size?”

I turned bright red. Both Beth and Ruth Ann literally doubled over in laughter. I stared at the clerk, not knowing what an appropriate answer would be. I eventually choked out, “Um, what sizes do they come in?”

Ruth Ann and Beth were laughing so hard that they could no longer make any sounds come out. “They go by waist size,” said the clerk.

Why do I remember this incident so warmly, instead of as a humiliating or traumatizing experience? I think it’s because — to dredge up a cliché for which I can’t find an apt alternative — Beth and Ruth Ann were laughing with me, not at me. We were totally comfortable with each other. We were theater people.

Theater people habitually touched, hugged, and emoted. Any of us could get on stage and be completely vulnerable, and it would be OK, because all of us had done it. And I’m sure that this capacity to be vulnerable grew out of the bond that comes from physical touch. This was a way of relating to people that I never knew was possible until I fell in with the drama crowd in high school.

The kind of contact that I came to value so much — my crush on Ruth Ann notwithstanding — wasn’t romantic, and it wasn’t sexual. It was pure warmth and trust, and it crossed gender lines. I remember rehearsing for a touring production of “The Wizard of Oz,” when I (as the Tin Man) and my friend Howie (as the Cowardly Lion) were being threatened by the Wicked Witch of the West. When the witch turned to me, I jumped into Howie’s arms. And when the witch turned to him, we immediately switched positions, with Howie jumping into my arms. It wasn’t planned; it just happened — a product of our being so tuned into and familiar with each other. The bit stayed in the show, and remained was one of my favorite moments.

After Ruth Ann graduated, the go-to person for transportation was a senior named Diane, who had a little red Volkswagen Beetle. There was one night — I wish I could remember where we were going — when nine of us squeezed into Diane’s car. Putting aside that most people of my generation are significantly larger than we were in high school, I can’t imagine anything like that happening today. I have a tendency to hug my friends, and a few of them are especially good huggers in return, but it doesn’t come close to the degree of ease and physical comfort that I had with my drama friends in school. It’s likely that I’ll never be in an environment like that again. What a loss.

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The Second Bite

It was my college roommate Krishna who first introduced me to the miraculous liquid known as scotch, but it was my friend Brad who, a few years later, opened the door to the diverse world of single-malt scotch by offering me my first taste of Laphroaig.

Laphroaig, for the uninitiated, tastes like dirt. There’s a story that during Prohibition, wholesalers were still able to import Laphroaig by having the distillery ship it in containers marked “cleaning fluid.” Supposedly the customs inspector who sampled it concluded that no human being would ever drink this stuff, so he let it go through.

Single-malt whiskies such as Laphroaig are made at a single distillery using local ingredients. As a result, each single malt has its own unique character that can’t be duplicated elsewhere. The most familiar brands of scotch, such as Johnnie Walker or Dewars, are blended whiskies whose distillers mix together a variety of single malts to create a product that’s smooth and inoffensive. Single malts, unlike blends, are willing to offend. Laphroaig, for example, is noted for its overpowering flavors of smoke and peat, which some people despise and others (like me) relish.

But “relish” is not a word that I’d use to describe my first sip of Laphroaig. It tasted so unlike the blended whiskies I was accustomed to that I thought that the bartender had made a mistake. I imagined that he must accidentally have poured a shot of — well, cleaning fluid. If not for the potential embarrassment of doing so in the classy New York bar that Brad had led me into, I probably would have wanted to spit it out.

Then a remarkable thing happened when I took my second sip. Now that I’d been forced to abandon my expectations, and to realize that my previous experiences of drinking scotch were irrelevant, I was able to experience the whisky on its own terms. “Oh!” I remember thinking. “I get it now!”

That incident led to my formulating a theory that I call “the second bite.” The first bite (or sip, or revelation) of something new is about the shock of experiencing something unexpected, of having one’s preconceptions violated. That experience says more about the taster than the thing being tasted. It’s only on the second bite that one can start to appreciate the thing for what it actually is.

Although the second-bite principle applies primarily to food or drink, it’s not exclusive to comestibles. It explains, for example, why I have such an ambivalent reaction to the movie “It’s a Wonderful Life,” which so many people love unreservedly. In the unlikely event that you haven’t seen the film, its protagonist, George Bailey — played by Jimmy Stewart — is in despair, beset by problems beyond his control, and is about to take his own life. An apprentice angel, Clarence, intercedes and takes George on a tour of his hometown, showing how worse off the town would have turned out if George had never been born.

The people he encounters don’t recognize George (since, from their point of view, he’d never existed), and he reacts in the way you undoubtedly would if someone with whom you’d been intimate suddenly treated you as a stranger — with shock and distress. But that’s just the first bite: his surprise and confusion in response to an experience he was not prepared for.

In each situation, he is eventually able to take the second bite, observing the state of affairs that his nonexistence has brought about. He sees that Mr. Gower, the respected pharmacist for whom he had worked in his youth, is now a drunken ex-convict who has served time for a child’s death as a result of his dispensing the wrong medication — an error that George, in real life, had prevented. He discovers that his brother Harry, who should have gone on to become a war hero, instead died at age nine in a drowning accident that George, in real life, had saved him from. These and a series of similar incidents are quite moving, and prompt us to reflect on the ways that our own existence might have improved the world in ways we’re unaware of.

But each time, before we get to the interesting part — the lesson learned — we have to sit through the first bite: “Don’t you know me? I’m your friend/neighbor/son/husband…!” followed by George’s anguish at not being recognized. I find myself getting increasingly impatient, which is difficult when the object of one’s impatience is someone as likeable as Jimmy Stewart. “Come on, George,” I want to say. “We get it by now — you’ve never been born. Why can’t you get it?”

All too often, as Frank Capra did in directing “It’s a Wonderful Life,” we concentrate too much on the first bite, which has nothing new to tell us. All first bites are the same. But every second bite is different, and those are the ones we should be paying attention to.

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All In My Head

One damp winter night when I was eight years old, our family doctor pulled up to our house, accompanied by his black leather bag. My mother had called him in a panic because I had suddenly become nearly unable to breathe. The doctor, after examining me and questioning my mother, determined that what I was experiencing was severe asthma, triggered by an aspirin tablet I’d taken earlier that evening. I was, it turned out, allergic to aspirin.

My allergy to aspirin became a permanent part of my medical profile. Many times as an adult, long after I’d outgrown my various other childhood allergies, I would occasionally ask my current doctor whether it might make sense to try taking aspirin and see whether I still had an adverse reaction. “Why take a chance?” the doctor would always say.

Not being able to take aspirin is hardly a liability these days. Aspirin has largely fallen out of favor, with ibuprofen and acetaminophen becoming the everyday painkillers of choice. But in the early 1960s, aspirin was still the thing that everyone used to relieve discomfort. (The cliché doctor’s advice “Take two aspirin and call me in the morning” dates from that era.) If aspirin was out of the picture, what was I supposed to take instead when I was sick?

It turned out that a little-known drug called Tylenol had recently become available over the counter. It wasn’t yet being widely marketed, but doctors knew about it. Tylenol was meant to be a substitute for aspirin, but generally only for people like me for whom taking aspirin was a problem. My family’s medicine cabinet remained stocked with aspirin, but soon it was accompanied by a small bottle of Tylenol for my exclusive use. Whenever I had a headache, that’s what I would turn to.

The problem was that I had a lot of headaches, and that made my mother angry. My job was to be a happy, well-adjusted kid, and happy kids aren’t supposed to get headaches. If I was so stressed out as to have tension headaches all the time, she insisted, I must be doing something wrong. But the fact is that in struggling to live up to expectations at home and at school, I was stressed. If I could have taken aspirin when my head hurt, nobody would have noticed that the number of tablets was slightly reduced. But because I was taking Tylenol, it was clear who was to blame when the supply ran out.

“More headaches?!” my mother would snap when I asked her to buy a new bottle of Tylenol. She would insist on only buying a small bottle, perhaps under the assumption that limiting the supply would limit the frequency of my headaches. But that only meant that I had to ask her more frequently to buy another bottle, which did nothing to limit my stress level.

Recent studies have suggested that acetaminophen — i.e., Tylenol — is a more effective analgesic than aspirin, and that ibuprofen (which wasn’t generally available until the 1980s) is more effective still. But in the 1960s and early ’70s, aspirin was still king, and it was my firm conviction that Tylenol wasn’t nearly as effective at relieving my headaches as the “good stuff” had been. I therefore had the consolation of being able to luxuriate in my victimhood.

I don’t mean to imply that I was suffering badly. These were mere tension headaches — not migraines, which I understand to be a hundred times worse. As I got older and gained more control over my life, my head ached much less often, and since I was self-employed and had a flexible schedule, I could usually go take a nap with the assurance that, with or without Tylenol, the headache would probably be gone when I woke up.

It was only when I began my teaching career in my 40s that I had to start thinking again about headaches. I remember the first time a headache cropped up when I was scheduled to teach a class, and I suddenly realized that no matter what my state of discomfort, I still had to teach the damn class. Something about that struck me as profoundly unfair. Why should my job require me to do something that my body was clearly objecting to?

That’s when I realized how extraordinarily privileged I was. For most of human history, people’s work and their bodies were inextricably linked. For me to be able to draw a conceptual line, with my work on one side and my body on the other, was an unprecedented state of affairs. And even now, most people’s occupations require them to interact with the hard, dirty physical world rather than with abstract information. Miners still have to mine, and maintenance workers still have to maintain, even if they’re experiencing physical discomfort; and more to the point, the work itself takes a toll on their physical well-being.

A friend of mine is a contractor who has done all of the remodeling, repair, and maintenance on our home for the past 25 years. He’s my age, but his body has nearly given out; he can’t accomplish much without the help of a younger assistant. He’s struggling to figure out what his place is in the world. I, meanwhile, continue to sit at my computer, doing the same work (if “work” is the appropriate term) that I’ve done all my life. I’ve done nothing to deserve that advantaged outcome. If I still get an occasional headache, what right have I to complain?

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Cutting Remarks

In 1911, a New York barber named Adolph Buchholtz opened a wholesale barber and beauty supply shop — A. Buchholtz & Company — at 517 Third Avenue, in the shadow of the Third Avenue El. (He eventually moved down the street to larger quarters at 513 Third Avenue, occupied today by the Joshua Tree restaurant.) When Adolph died in 1948, ownership of the store passed to his sons Fred and Moe. Moe, who died in 1964, was my maternal grandfather.

Moe’s share of the business was inherited by his wife, Jeanne, who co-managed with Fred for a few  years. I don’t remember when they closed the store — my guess is that it was the early 1970s — but I do remember visiting the place for the first and only time as they were liquidating their remaining inventory, and taking home a bag full of pocket hair brushes. I continued to use those brushes until well into adulthood, when I no longer had enough hair to brush.

All of this goes to explain why all of the scissors my household had when I was growing up were barber shears. They were long, thin, and graceful, and made an appealing (and ASMR-inducing) snipping sound. As soon as I was old enough to move from blunt-tipped children’s scissors to adult-size scissors, my mother gave me my very own pair. I didn’t even know that they were barber shears; I just thought that that’s what all grownup scissors were supposed to look like. As someone who was always crafting things, I used those scissors to cut construction paper, cardboard, fabric — pretty much everything except hair.

They were good scissors, and I held onto them for years afterward. So far as I know, it was entirely coincidental that my college girlfriend Marcia, when she was about to have her senior picture taken, asked me whether I could trim her hair for the portrait. I wasn’t sure what to say. On the one hand, I had no experience with haircutting or hairstyling. On the other hand, I did have professional barber shears.

I should note that when I was in my 20s, I was fearless about agreeing to do things that I was completely unqualified to do. When a vice president of the college food service department — for whom I’d previously made some paper signs using markers and watercolors — asked me whether I could make some permanent, weatherproof, metal signs to be mounted on buildings, I said, “Sure!” When a neighbor asked me to wire her house to install some extension telephones, I said, “No problem!” When a musician asked me to set up a studio to record an instrumental ensemble, I said, “Of course!” I’d then confidently figure out how to do it.

So of course, after a brief hesitation, I agreed to trim Marcia’s hair. How difficult could it be? All I had to do was carefully examine how her hair was now, and then make it look the same, only shorter. You’re probably expecting that my hubris ended in disaster, but it surprisingly didn’t. Marcia’s hair turned out looking pretty nice — so much so that friends of hers asked me to trim their hair as well. My handiwork can be seen in three portraits in the Princeton class of 1979 yearbook.

I liked cutting hair. It represented an opportunity to have a more direct, more visceral connection with people than I could get through mere conversation. I never took money for haircutting, but asked in return only to be treated to dinner — another opportunity for human connection. To this day, I feel like getting a haircut is too intimate an activity to be done by a stranger at Supercuts. That’s one reason why, a couple of years ago, I elected to swear off haircuts entirely and begin shaving my head.

My most memorable haircutting experience was when an Asian American friend who had spent her life with long, beautiful, waist-length hair decided that she wanted to cut it all off in favor of a short hairstyle. She asked me to do the honors, and despite a lot of nervousness — the first time I ever had qualms about giving a haircut — I accepted. I can still recall the sensation of my trusty barber shears crunching into that first sheaf of hair and watching it fall irrevocably to the floor. (I imagine that a medical student has the same experience when they perform their first operation.) I must confess that my friend later went to an actual hairstylist to touch up my work, but I’m grateful to be the person whom she trusted to do the initial deed.

My haircutting career came to an end on a warm summer night when I had an appointment with a friend named Mike. We’d arranged to an efficient swap — a haircut first, followed immediately by the requisite dinner — but somehow a pre-dinner bottle of wine got opened and consumed during the haircutting portion of the evening. That turned out to be a bad idea. Mike’s hair was curly and therefore somewhat forgiving, but it still degenerated into an uneven mess that got worse the more I tried to fix it. (I seem to remember that one spot ended up entirely bald.)

Like the characters in the Warner Brothers cartoons who run off a cliff but can’t plunge to earth until they recognize that there’s nothing holding them up, I suddenly had the stomach-churning realization that I have no idea what I’m doing. Whatever delusion I’d had that I could successfully cut hair — the confident “How difficult could it be?” that had buoyed me on so many occasions — vanished. My elegant barber shears returned to being everyday scissors, cutting paper and cardboard but never again touching a human head.

I miss the physical interaction and the convivial free meals, but most of all I miss the naive blindness to my own limitations.

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Giving Voice

Royal Albert Hall (photo by Debra)

Debra and I went a few nights ago to an event at the Royal Albert Hall called “Letters Live,” in which noted actors (and a few non-actors — in this case, a completely unexpected John Kerry) read aloud from letters written by various correspondents over the centuries. The event takes place annually, and somehow is popular enough that the 5,000 seat venue was almost entirely sold out, but we weren’t sure whether we wanted to spend the money to grab up two of the few remaining seats.

“It’s a chance to visit the Royal Albert Hall,” I said.

“But it’s people reading letters,” said Debra.

“But one of the people is Benedict Cumberbatch,” I said. (Although the cast list is kept secret until the night of the event, Cumberbatch was an exception, and was featured prominently in the advertising.) “Have you heard his voice? I’d listen to him reading from the phone book.”

(In hindsight, I guess it’s time to retire that outdated cliché. When is the last time anybody saw a phone book? I should have said, “I’d listen to him reading Google search results.”)

In the end, we decided to go, and it was a mixed bag — some of the letters were less interesting than others, and some of the performers were less enthralling — but Cumberbatch was one of the standouts, assuming the personalities of three different people (one of whom was an American) from different times and places. His characterizations were so captivating that I didn’t even pay attention to the quality of his voice.

In a few of my earlier posts, I’ve alluded to my difficulty in processing spoken language. When listening to someone speak, I can focus intently on the meaning of the words, making sure I’m comprehending everything they say; or I can relax and just enjoy the voice, the manner, and the personality of the person doing the speaking. My tendency is to do the latter, which means that I often miss a lot of the content. A great performer can make those two aspects of speech so compelling and inseparable that I feel like I’m receiving it all in a single gulp. But unfortunately for my processing of everyday interactions, not everybody is Benedict Cumberbatch.

I remember driving from Princeton to my parents’ house on Long Island with my girlfriend at the time, Alex. She was telling me a long story and then stopped to apologize, saying “I guess I’m really going on, aren’t I?”

“That’s OK,” I said. “It doesn’t matter what you’re saying; I’m just comforted by the sound of your voice.” I meant that purely as an expression of affection, but she didn’t hear it that way.

“You mean that what I say isn’t important? That it’s all just babble?”

I quickly assured her that everything she said was indeed important, but I realized later that her anger was appropriate. I really didn’t remember anything about the story she told; I had just been delighting in the experience of being in the presence of Alex — the way she looked, the way she smelled, the way she sounded.

In recent years, I’ve come to realize that many of my relationships with people are similarly unbalanced. There have been many people that I’ve thought of as friends, but while each of them might think that our friendship centers around the things we say to each other, my perception is that our conversations are simply excuses for me to enjoy that person’s physical presence. And as much as I value honesty in a friendship, I can’t say so out loud, because that person is likely to (justifiably) react the way Alex did.

As a result, I’ve found myself largely withdrawing from the world of friendships. I think one of the reasons I’m so comfortable here in London is that everybody is a stranger, and I don’t have to pretend otherwise. When I strike up a conversation with a random person in a pub, it’s clear to both of us that what we’re saying is of no importance; we’re just appreciating the special moment of making a connection. And when there’s no connection to be had — as when I’m one of 5,000 people sitting and listening to the voice of Benedict Cumberbatch — I can guiltlessly sit back and enjoy the sensation.

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