Author Archives: Matt

Review of “This Mobius Strip of Ifs” by Sam Sattler

This review of “This Möbius Strip of Ifs” by Sam Sattler appeared on his Book Chase website.  A slightly edited on version is available on Amazon.  Much thanks to Sam for his kind words about the book.

This Mobius Strip of Ifs

Seldom have I run across a collection of essays as revealing, provoking, and inspiring as Mathias Freese’s This Mobius Strip of Ifs.  Freese is at a place in his life that lends itself to deep introspection about the “what-ifs” of a lifetime spent searching for the truth about himself and his relationship to a society of which he largely disapproves.  This collection of thirty-six essays, written over a period of four decades, chronicles everything from Freese’s childhood memories, to his battle to free himself of society’s conditioning and regimentation, to the loss of an adult daughter who succumbed to the chronic pain she could no longer tolerate and took her own life.  There are so many ideas packed into this 164-page book, in fact, that it is difficult to know where to begin discussing them.

The essays themselves are divided into three sections, the first of which is titled by a Nietzsche quotation: “Knowledge is Death.”  In this section are pieces on things such as Freese’s experiences as a frustrated high school teacher, his later career as a therapist, his admiration of Thomas Jefferson and Christopher Hitchens’s God Is Not Great, and a scalding few pages about the pretentiousness and maliciousness of book-reviewing bloggers, “some of whom imagine they are literary critics.”

I find one quote from the Hitchens essay to be particularly striking – and revealing:

“To learn that most of what you have learned from the elders of your own family, your ethnicity and your nation is organized bullshit can be terribly frightening, ultimately moving and then considerably bracing.”

The book’s second section is entitled “Metaphorical Noodles” and focuses on Freese’s appreciation of a handful of actors and movies.  This portion of the book includes individual essays on Buster Keaton, Peter Lorre, and Orson Welles, as well as one on Fellini’s La Dolce Vita.  Freese’s deep love of Buster Keaton’s work convinced me that finding some of Keaton’s early films is something I need to do.  Having enjoyed two of the films now, I thank him for that.

The third section of the book, “The Seawall,” is comprised of Freese’s thoughts on his relationship to his children and his “Remembrances of Things Past.”  The theme here, if perhaps a bit more concisely expressed, is much like what Freese presents in the book’s first group of essays.  Looking back on his life now, Mathias Freese can say, “I have few regrets.  It is what it is, it is what I have been given.”  He had to work very hard, for a long, long time, to reach this point in his life.  May This Mobius Strip of Ifs gently push the rest of us in that direction.

Rated at: 5.0

I Am Cultivating the Faculty of Patient Expectancy

In the very early Fifties I saw Alec Guinness and Yvonne DeCarlo in “The Captain’s Paradise.” I believe that is the title. What is important is that the bigamous captain, Guniness, has a wife in two ports. When he observes one in his presence he whispers the above title words to a friend when asked what is unnerving him. Chesterton coined that bon mot. It always stayed in mind because of the felicity of its expression and the unflappability of the stereotypical Englishman, especially Sir Alec with that clipped English of his. I set out to find its source years later, I imagine, and memorized it. Always intriguing, is it not? what we remember as a child, what leaves an impression, what captures our fancy.

The more I write about my childhood the more I am recognizing how latently gifted I was while so manifestly dead to the world. Integration was years off. And, indeed, in my present book there are essays that attest to that. I am pleased in an interesting way, given the family I was”raised” in, that I was no dope, in fact a kind of jewel in the rough. In those years I rarely if ever spoke to myself which I find a conclusive testament to anyone who wishes to become aware of self and other. A day does not go by now in which I do not engage myself in dialogue. And why isn’t that taught in “schools?” Your homework tonight is to have a ten minute conversation with yourself. Report back with your notes of that dialogue. What fodder for the good teacher, for insight, meaningful writing and awareness. Teachers as clodhoppers have no idea of what I have just said.

And so I am being patiently expectant as I have mailed out my book to reviewers across the globe — France, Australia, Malaysia, China, Scotland, England and India as well as to reviewers within the USA. I get a kick out of the idea that my book has arrived in another continent, another clime, that the book is an extension of my self in some far off and often exotic land. Quirky, but it is my quirk. Eventually the reviews will creep in like cat’s paws and I am wondering what impression the book will have on over forty or so minds. It is a crap shoot and I am not overly concerned, for the work is over and I need only to get feedback. Feedback makes you reconsider what you have written, I think, but in no way would I redo what I set out to accomplish, which was to turn memory and reminiscence into something to consider and reconsider at this time in my life.What good is anything, event, pleasure, sex, food, politics, love if it is not in some way metabolized mentally, psychologically or physically.

What is also refreshing is the absence of how well it is being marketing, how well I am being “received ” — what am I  SETI  awaiting a signal? I am more entranced with the notion that varied and sundried personalities have engaged my essays at some level and are moved to write about that. For me part of being published is not all the hullabaloo we see on book blogs, by bloggers and marketers, chivvying  the writer to get out there, be seen and known, to sell, sell, sell. I view all this as the smelly nap on the American dog of business, so fatiguing when I think about all the energy it entails. When I do get infected by this  toxin it creates levels of anxiety I can do well without. It is as if there is a massive capitalistic church bell that peals throughout the land that tonally rings out –  DO MORE.

Indeed, I associate to the writing on the wall: Mene mene tekel upharsin.  Thou hast been weighed and found wanting. As I struggle to get read and reviewed in ways that are comfortable for me, I ward off the conditioning that all writers are subjected to, often by other writers. I work at not being consumed by what the shoulds are. Tricky, because at times one feels, I feel, that I am not doing “enough” to hawk my work.

The sweeter  aspect of having produced another book is that friends and relatives will respond, I hope, among these is an attorney, a former therapy client, my psychotherapeutic supervisor as well as close friend, a teacher from my psychoanalytic school, the editor of my book who is also a poet and editor of an ezine, a complete stranger who I engaged when blood was drawn by her at a lab, two acquaintances at a local gym that I do laps in, a former high school colleague, and whoever else is around the corner. As I hear from these individuals it will touch different keys  within, play idiosyncratic tunes for each is so different.

At this moment I am experiencing a lull. I am assembling the energy particles for another run at getting reviewed; however, the first reviews will be enabling, I hope. If not, I go on. And how do I do that? The next book is already at the gate.

On Having and Holding This Mobius Strip of Ifs

A few days ago I received the initial fifteen free copies from the publisher of my new book.  Always exciting, fulfilling, intellectually and emotionally nourishing to see one’s new book fill up a box. I reached in for my first copy and relished the delightful  rich royal blues of the new cover with a mobius strip as its main symbol and metaphor for the entire book of essays, memoirs and reminiscences, essentially a remembrance of things past.

Usually I carry my new book wherever I go because someone may ask me about it or I may feel I want to share my new effort. [ I associate to my college ring (1962) which I proudly wore after the first few weeks of having it.] And so when I went to a local lab to have my blood drawn for a prostate exam down the line, I began to read and reread selections in the waiting room. I had already spotted some typos which I will remedy down the line, that is to be expected. Consciously I hoped that someone might engage me about what I had spent over a year writing and publishing. I was walking down the street with my newborn in the baby carriage. 

Susan, a technician, asked me to come into her room to take a sample of my blood. I placed the book down across the way from the chair I would be in and before she went much further her attention was drawn to the book. She asked about the word “Mobius,” and before I knew it we had engaged one another, especially after I declared I was the author. Elated by the fact that I had written it, that she had met its author, I generally spoke about its contents. Susan told me that in college several of her college profs had commented on her writing talents , urged her to continue in her writing. She chose instead to go into the medical field, but made it clear to me that she had a soft spot for the literary arts. I jokingly suggested, as I have heard about this kind of wish before, that she buy glue and spread it on her rear end, sit down and begin to write, a page a day would give her 365 pages in a year, regardless of the quality of it all.

The conversation opened up a bit more. Since she had chosen science as a career, I mentioned  the work of Loren Eiseley, The Immense Journey, a beautiful blend of science and poetic writing, a book I had read in my twenties, to my delight. I told Susan of how unusual he was as a man, scientist and poet. Eiseley had worked as an archaeologist in Egypt. One day he unearthed a child’s mummy. Eiseley chose to stay in that dig with the mummy cradled in his arms until the Egyptian sun went down, for he wanted to imagine what it was like for a mother to hold her nursing child so many centuries ago at dusk. An exceptional response. In my book I cite his work in one of my essays about writing that has impacted upon me, either for style or content.

Drawing my blood seemed a minor item now and that was done expeditiously, and as I left she shared a few facts about her family and I could ascertain that she enjoyed our small conversation. And as I left Susan said, “You’ve made my day.” Mind you, this was 8 A.M. and the day’s drudgery had not really begun, I imagine, for her. So I not only left her blood of my body but something for her mind.

A few days later after I recounted this anecdote to Jane, she wisely suggested that I return and give Susan a copy of my book which I will do, for she gave something to me in turn, that which I desire as a writer –not coin of the realm, but an exchange of ideas, of a sharing, of discussing that which matters to me free of marketing, competition and the American way.

While thinking about my first pleasant sharing of my new book with a complete stranger, it took me three days to think of the name of a famous American art historian, his speciality being the Renaissance. I initially got him confused with Walter Pater, a sterling stylist of pargraphs, but it was not he. The name escaped me, but in discussion about this with Jane it came to mind. I was thinking of Bernard Berenson, born in Lithuania into a Jewish family, the European name was changed here in America and Berenson also converted to Christianity (Oh, Bernie!).

Born in 1865, he lived a very long life and died in Italy (of course) in 1959. His long life is crucial to what I will say here. (His great-great-niece is Marisa Berenson, the actress.) I do not recall where I read what I will retell here or if it was told about Berenson or if it was Berenson writing about himself, but the tale will be shared.

Apparently Berenson was in his nineties and in the square of St. Mark’s in Venice, that famous square in which Kathraine Hepburn meets Rossano Brazzi in Summertime. Sitting down , his hands on top of the knob of his cane, an expresso by his side, Berenson observes, which is his greatest talent, the young adults in frolic in the square,  the young women in their periwinkle, charteuse and lilac sun dresses, the young men looking sleek and suave. As he reflects Berenson entertains a fantasy, this scholar-critic who had spent decades writing about the Renaissance, exploring the great museums of the world, trying to fathom the genius of Michelangelo’s David and his Moses, Raphael and DaVinci, the architectural wonders of Florence and Sienna.

It comes to Berenson’s mind that he wanted to invite some of the young adults to his table, to express to them how he wishes to make a trade. He would give them gold pieces, sufficient for a month’s stay in Venice, enough for lodging and food and in return for that, he would ask these young people who were so carefree to give him a few days of their lives. His thinking was not bizarre, for he felt that they would not miss at this stage in their lives a few days whereas he lived day by day at the end of his life. Dawns were not as frequent now as all the sunsets he had lived.

Essentially he would share with these young people, although they could sympathize but not really empathize with his desires, that by having a few more days he was not greedy for additional days to be lived. Oh, no. He wanted some days to revisit a few of the great art treasures of the world, to see the Mona Lisa once more, or a Renaissance church. And for that remembrance gold had no meaning for him, but time had a great deal to do with it.

You may argue that Berenson revealed a greed of a kind, that he would have short-changed the youth whether or not they realized his intent; but there is a scent to this anecdote which touches upon my new book. For I wish to share my book, encounter a human being who can respond, for I am not into selling it so much as to giving it away in a sense. To talk about my book, to hear opinions and judgments about it does not frighten me, because I wrote it for all kinds of reasons, essentially to partake in the community of shared ideas, worth so much more to me than marketing it.

So, in a way, like Berenson, Susan gave me something that was not elicited from her, but purely shared or volunteered from her inner self. You know that is a kind of “book” in itself. And neither one of us exchanged gold pieces.

First Review of “This Mobius Strip of Ifs” by Shirley Roe, AllBooks Review

July 2011

Before I begin, I will state that I am a huge fan of Mathias Freese. His novel, The i Tetralogy, sits in a place of honor on my bookshelf as one of the books I shall never forget. This Mobius Strip of Ifs is a collection of essays written by the author over a long period of time and finally brought together in a fascinating work of literary genius. I sit and read the essays and sometimes I find myself in a place of deep soul searching and discovery, other times I am simply entertained, but never disappointed.

Each essay has something truly unique and heart wrenching. The following quote is only a small part of the therapist’s relationship with the client. However, as you read, it permeates your core as very sound advice for any relationship.

Therapist as Artist:  “Some comments about the relationship with the client. As you fade, the client becomes clearer. Think of yourself as the Cheshire cat in Alice in Wonderland.

Use yourself as an instrument. Use images, analogies, metaphors; be nimble on your feet. Use words gracefully, cunningly, but never deceitfully. Be multiplex. Think and be in large, not small, measures.  Give and ye shall receive twice-fold.

As you feel, sense and intuit the client, feel his impact upon yourself. Think of meteors raining down upon the moonscape and the lunar quakes that ensue and seismic waves that are issued deep down to its core. Engage and motivate.”  Truly thought provoking!

To quote Jane Freese, who puts it beautifully in the introduction, “A Möbius strip is essentially a ribbon with a twist. A mathematical model, it is used as a metaphor by physicists to describe why we, living within four dimensions, are unable to perceive other dimensions outside of the single boundary of time.” The collection covers religion, the Holocaust, publishing, writing, movies, actors, therapy and life in general, from the author’s point of view. Readers will be entertained, challenged, and yes, shocked by some of the writings. Another winner from Matt Freese that I have thoroughly enjoyed from start to finish and I am sure will return to often in the future.

 

Highly Recommended by Reviewer:  Shirley Roe, Allbooks Review.

Slave

Published in The Del Sol Review

Winter 2012 #18   The “Everlasting Delays” Issue

From “I Truly Lament” a collection of short stories to be published 2012

by Mathias Freese

The most appalling defeat in the camps was the absence of beauty. Regimentation was all, an artist without a palette.

Animal life had fled. Occasionally an errant bird chirped its creed and flew away. Butterflies stayed away, no flora to cling to. If you think rats, vermin, maggots and roaches are beautiful, it was Eden. Uniformity in everything was the rule. Barracks laid out in grids, barbed wire in rectangular enclosures. Even the circle was barred from the camp, for it was elusive to the German mind. Everything was squared off, nothing rounded. We lined up for morning roll call, the Appell. The guttural voices of the German guards barked out the same repetitive orders. Geometry was god, diversity Satan’s whore, opinion a mother’s bastard, and questions a whore’s tease. Order above all. To my ears, the German gutturals obeyed in aural allegiance the mind set of their speakers. When I fill the ice cube tray, I pause, knowing how well the Germans viewed us, frozen cubes all lined up.

I remember well digging a two—foot—wide trench, supposedly as a latrine. The Germans had us constantly digging as if the work itself was useful, in some perverse way a contribution to hygiene. It was a lie. It took some time after being freed to grasp the subtle cruelty behind our orders.

As we dug we were sapped of energy. Many of us died on the spot, guards either flailing us with whips, kicking us, whipping their rifle butts about our backs. It was as if we had failed them, as if Jews couldn’t do hard labor. No use reminding them we were good at pyramid building or putting up the Coliseum in Rome. No Jew could speak to a German — ever.

Many of us viewed the trenches as a necessary evil. The intent was to work us to death, as the Germans weren’t concerned about our hygiene. The task was, in effect, to wear us out to a point that we evolved into Muselmanner, the stage before the ovens. We weren’t being harvested. We weren’t contributing to a greater Germany. We were expendable. In the very routinization of our efforts was the very plan for our extinction.

“Work makes you free” was the carrot and the stick, but no prisoner ever really believed that after a few weeks in the camp. After a while, none of us could think clearly, for we lacked the necessary proteins in our body to make tissues connect and channel clear thinking.
For some of us, the trench—digging became compartmentalized. We split ourselves right down the middle. Each shovel of dirt fed personal dreams or delusions — hopes and aspirations while the next shovelful served the Reich. If we were casual or slow in our efforts, we were beaten. The real task was to focus on another thought — perhaps feeling — as we slaved away.

I used to think about slavery in the trenches, of slaves throughout the centuries:  Greek and Roman slaves, Spartacus, and Jewish slaves in Egypt. How did they manage their daily sufferings? As I pondered all this in the trenches, I worked on being hyper—vigilant, for if I fell too deeply into reflection my pace might falter. I’d bear terrible risk. And so I lived on the razor’s edge.

I reached no great conclusion as the months went by. Digging in the trenches, leveling their earthen floors, patting down with shovel this side or another, taught me nothing of use — except  despair. What I concluded above slaves and slavery stayed with me during the nights in my barrack bed. . .

One reaches such levels of depression and despondency as a slave that death becomes an essential aspiration, an ambitious and greedy need. If one leans in this direction, a proclivity which may have been in one’s personality before enslavement, all is lost. One can crave death and yet one’s body refuses to yield and one just stumbles about, denied rest . This is a very cruel existence. I lived it.
A few heroically fight back inwardly, psychologically. And how rare these men were! We could tell them apart from us because as fellow slaves we detected nuances. When we went along with abuse and punishment, they went along, but in their eyes roared defiance. Rare, but in a way, holy and majestic, their liberation was before the camps fell. And, at times, without their knowledge, they provided inspiration — but mind you, just for a moment, and not for too long.

And there are exotic or strange feelings as a slave, for at times we fawned before our masters, merged with them, craved their attention, wished them personal happiness. And I know of one prisoner who desired to be beaten to death by one particular guard, as if his choice might please this guard, give him one less prisoner to watch over. And so this inmate directed his limited existence toward that end.

The “affairs” between slave and enslaver are notoriously complex, riddling. I couldn’t grasp that then, nor do I now. I understand that under peculiar circumstances. We enslave ourselves in repeatedly different instances, giving up ourselves to be slaves is just the surface of things. It was not for nothing that slavery in this country was called the “peculiar institution.”

In our slavery is the wish to please the taskmaster, encouraging him in his brutality for we take him away from the good things of his life, for instance. As we move more profoundly into our slavery, freedom becomes irrelevant, or a whimsy. There is for some of us the perverse charm of enslavement for within we discover levels of personal pleasure, in fact, the most enslaved of us all, the ones who gave over to the taskmaster their complete selves, find in that surrender a kind of desperate freedom.

No longer do they have to care or tend to themselves, they are back in their cribs. No anxiety befalls them. All needs are met. Freedom from the unknown soothes them — the sad fools! But I should not judge. Humans are like children’s marbles, all sizes and colors, pure, dark and variegated, heavy, lightweight — it is a matter of taste, of what is suitable for playing this or that marble game. It’s what you want as a personal collectible.

The wandering of the Jews after Egypt for forty years is the Bible’s brilliant insight into the need to have the slave mentality extinguished, for only those free of internal slavery could enter Canaan. The critical conflict in my life as an “ex—slave” is whether or not my dark nature was there before or did camp life stamp that indelibly upon my brow.

In any case, it is my dark nature that determines how I feel and think. At moments I’m perforated as if essential pieces are missing. I still don’t know if I am still a slave. The camp mothered me in my adolescence, breastfed its malignant metallic tasting milk in more powerful ways than my own mother. What evil proteins passed by my lips from that witch’s teat?

I know my life after the camp has been, in a fashion, a second slavery. I have struggled to be free of the horrific icons placed inside me, emotionally and psychologically. The cruel realization is that I have to work once more on staying free. I’ve lived an appalling existence. I know. I live it still. I’m left with the stale choices only an old man has as I function day to day. My youth is gone. It was chiseled away. I am mere cloying chunks of being, trying to reclaim myself once more — and at such a late time in life. Life has been unfair is a cavalier statement for me. Life has not been for me. So what is to be done? The Jew in me has been taught to ask. Oh, reason, the Jew’s sweet river Jordan.

Conversations with Writers

[Interview] Mathias B. Freese

reprinted from: http://conversationswithwriters.blogspot.com/2012/01/interview-mathias-b-freese.html

Mathias B. Freese lives in Henderson, Nevada in the United States. He has worked as a teacher and a psychotherapist and has been writing for over 42 years.

His books include a Holocaust novel, The i Tetralogy(Wheatmark, 2005); a collection of short stories, Down to a Sunless Sea (Wheatmark, 2008); the mixture of memoir and essay, This Mobius Strip of Ifs (Wheatmark, forthcoming) and a second collection of short stories, I Truly Lament (___, forthcoming).

In this interview, Freese talks about his writing:

When did you decide you wanted to be a writer?

In 1968 I wrote a short article, “Is Content Enough?” for an education journal of some note. It was my first publication, but not a literary one, although I devoted a few months to perfecting the article. I had no idea that I would become a writer, much like I had no idea that I would become a psychotherapist, or have children, or lose my wife in an accident. Often such happenings are made randomly or we just walk into them. Much of life is a wild run through a corn field like Cary Grant in North by Northwest.

By 1974 I was listed in The Best American Stories of 1974, with such writers as Joyce Carol Oates, Isaac Bashevis Singer, John Hawkes, etc.

Me?

Martha Foley, who had edited Hemingway, among others, was the editor and through a series of errors my name was mixed up with H. T. Kirby Smith, a poet. To make a long story very short, Mensa Bulletin, 2011, just published my award-winning essay, “To Miss Foley, With Gratitude,” which is the tale behind “Herbie,” the first story of note that I ever had published, and credit given to Kirby-Smith. That’ll show you.

As I look back, it was a terrific gift to a new writer. To know you’re good at something doesn’t mean you have to hear it from others. The inner-directed writer needs no acclaim.

As an English teacher I wrote stories during lunch breaks, study halls, during the evenings late into the night and over the week-ends; my trusty second-hand Smith-Corona was repaired several times as the letter “e” got an intense battering. Rejections were rife, but as an autodidact I continued to self-learn. I had to feed my family and had no time for “conferences”, and all that folderol.

I made a promise to myself during these difficult years as a husband, father and as a teacher who loathed the mediocrity in high schools, that whatever stories I could not get published I would publish someday. I waited about 30 years for that to happen. In 2008, I self-published Down to a Sunless Sea and won the Finalist Indie Excellence Award. I persevered. I am the turtle behind the turtle racing against the hare. Think on this for a moment and you can get a handle on me!

How would you describe your writing?

All my writing is visceral and passionate. I favor the passion of the mind as well as that of the soul.

As to my “target audience”, that is part of the marketing world and I do not respond to that at all. I have always written for myself, believing that if I do it well the person reading it will connect to me. I have a conversation always with myself. Apparently some people like that.

All literature is an internet among people. To understand this about me is to understand why I take risks and dare in my writing. What I really do know is that fearlessness makes for authenticity in writing. I do not write to be remembered. I write in the now and for the interaction and discussion it might bring about. I have my close ones to remember me. In short, I write to give off my scent.

Which authors have influenced you the most?

Authors have not influenced me. I read to be moved.

Kazantzakis’s The Last Temptation of Christ and his Saint Francis are intensely, vividly splendored works; his Report to Greco is one of the great confessionals of the last century. His existential epitaph has served as a guiding light for me: “I hope for nothing. I fear nothing. I am free.” He wrote a two volume sequel to The Odyssey in verse and by all accounts he equalled Homer.

Have your own personal experiences influenced your writing in any way?

In all my writing I try to make the reader feel – as a psychotherapist with over two decades experience, in this culture we are conditioned not to feel.

Having lost a wife in a horrific automobile accident, my daughter being terribly wounded but surviving, her boyfriend dead, and the early death of an older daughter by her own hand have devastated my life and all of this has impacted upon my writing. What is that impact? To weigh carpe diem with tempus fugit on a moment to moment basis, to live in the moment, right now, to deprogram myself of this rather decadent society’s need to swallow us up through conditioning. I step aside and askance of the writer’s world, for often new writers sell their souls very early on. Older writers as well. I revel in being a stranger in a strange land; in America I am an ex-pat.

What are your main concerns as a writer?

I really don’t have main concerns as a writer. I don’t view myself as a “writer”. I am Matt who happens to write. Being a writer is a role and with that comes all kinds of delusions and mischief. I am not my occupation! I do my best at what I am doing, no more, no less. I strive not to write a glorious sentence. If anything, I struggle to engage you, the reader, to shake you, turn you upside down, rub your face in my own grit. I teach you nothing. I observe.

In my graphic and violent Holocaust novel, The i Tetralogy, the work of a lifetime, I engage the inherent violence of this species-devastating event, the lens through which we all can observe man. As a psychotherapist, writer and human being I struggle for two things:

  1. to see
  2. to struggle to be psychologically free.

The triumvirate for me is – Krishnamurti, a remarkable spiritual teacher, Kazantzakis, and Freud.

Do you write everyday?

There are no rules for me as a writer. I think in fractals. I write when I am moved to do so. I spent years learning the craft and am still a novice. The serendipitous consequences of being self-taught is that one may venture into areas loaded with landmines and emerge safely, perhaps wisely so. To write 500 words a day or more does not a writer make. Ask Homer, ask Joyce, ask Dickens. Thank god they never went off to schools to learn how to write.

I believe with conviction that the very next book I will write is already being assembled in my unconscious. My unconscious has rarely failed me; indeed, I get really excited when it makes its appearance in my writing and I go on for pages. When I teach writing, I urge students to tap into that, to not censor it.

I wrote an early version of i in about one week; it entirely poured out of me. It was a remarkable event and changed everything in how I approach writing. In short, I channel it all.

How many books have you written so far?

As to the books I have written, The i Tetralogy (Wheatmark, 2005) explores the relationship between victim and perpetrator during the Holocaust in great depth as well as the relationship between the perpetrator and his own family in the States after the war, where he fled to. Very intense and graphic, it has been described as both “pornographic and holy.” High praise in my eyes since it was reviewed by a survivor.

Down to a Sunless Sea (Wheatmark, 2008) is a collection of stories dealing with the deviant and damaged. Duff Brenna, novelist and editor, considered it Proustian.

At this time I have two books readied for publication:

I Truly Lament is a collection of short stories about the Holocaust, ten of them published last year to my joy. I can never let go of the Holocaust, although I am not a survivor.

This Mobius Strip of Ifs will be published in early January 2012 and is a series of related essays over the past four decades of my life, a kind of Bilsdungroman of my psychological life as a writer, spiritual seeker, teacher and curmudgeon. It is a mixture of memoir and essay, with me breaking the rules again. It is my happiest effort in years. Not bad for this 71 year old.

To come full circle, the essay on Miss Foley leads off the collection for it is emblematic of my experience as a writer. I self-published the book and I find Wheatmark more than capable of producing a fine product. Working with the editor is for me a growing experience, not something to resist. After all, the whole art of writing, for me, comes down to revising. When you revise, you sharpen who you are.

The Mobius Strip of Ifs is a compelling compilation of observations, psychological insights, and reminiscences for those possessing the requisite courage to feel and think, to struggle against cultural conditioning, and to create artistically inspite of an environment that impedes the awakening of intelligence. I summed it up: “Although we are passing ephemera, human lint on this planet in transit, it is a powerful and nourishing feeling for me to have paused long enough to have observed the passage of time and my place in it.”

What will your next book be about?

At this time my next effort is at the starting gate.

I Truly Lament is a varied collection of stories, inmates in death camps, survivors of these camps, disenchanted Golems complaining about their tasks, Holocaust deniers and their ravings, and collectors of Hitler curiosa (only recently a few linens from Hitler’s bedroom suite went up for sale!) as well as an imagined interview with Eva Braun during her last days in the bunker.

The intent is to perceive the Holocaust from several points of view. An astute historian of the Holocaust has observed that it is much like a train wreck, survivors wandering about in a daze, sense and understanding, for the moment, absent. No comprehensive rational order in sight.

I am seeking to find a publisher for this.

In the meanwhile, I will be entering contests.

What would you say has been your most significant achievement as a writer?

The most significant achievement as a writer, you ask, makes me reply: It is in the totality of who I am. I work on myself to hope for nothing, to fear nothing, so that I can be free.

The Wound

Sometime during the day, at odd and peculiar moments, I experience memories and reminiscences. I associate to the old blinds with “pulls.” As I pull down the blind one more day is gone. And in the morning I raise the blind as if I have another day given to me as I inexorably march off to my end.  At 71 I am saturated with all kinds of reflections of my childhood and all the concomitant cliches that come with that. I am drawn back in time like a receding tide and reminisce mostly of my dull relationship with my mother, a classic depressive. While I ponder about our interactons, I am drawn to a series of observations of myself as a child, unpleasant, unhappy ones. And then I extrapolate from who I was then and cast this pall over all the decades since and consider how the cards given me then have turned into the hands I’ve played. In short, for a large measure of my beginning years as a child, toddler and teenager I was incorporative as a human being. I had not acquired, nor was I shown, the tools of exchange, of embrace and engagement. I was not open to the world. Subterranean, I was all aquifer.

I will get to it quickly for after that it is mostly commentary. I feel I was not cared for by my mother nor did she engage me as  her son. I could say I was abandoned by her but caring holds a greater valence for me. You need not consider my father, who virtually did not exist, either for himself or for me. The real measure of my humanity would be tied up with my mother and it is here that she failed me miserably.  This is the wound.

I will cut deeper into the feeling. I experience myself then as devoid of emotional supplies, self-nutrients, the classic givens from which to thrive as a young human being. She never read to me, a childplacid and gentle in nature. I do so see myself as I look back. I was unobtrusive, a mother’s dream, especially for a depressive. I babysat myself. I had nothing to incorporate from my world with my mother, she was my moon, not my sun. I incorporated my environmental world as a child from friends and neighborhood, but I really cannot feel or sense that I received much in terms of parental affection, love or caring from my mother.

Only of late as I reconsider my life and the travail I have endured do I examine a little more deeply the lack of impact my mother had on me, and that very lack of impact has made all the diference in my life. After all, to age, by definition, is to recollect. Lucky is the mature human being who does this moment to moment, for he or she is express and in the world, an awakening of intelligence.

I will digress for a moment. The kind of wound I speak of here is the kind that defines us for the rest of our lives. [Have you asked that of yourself?]  A wound that by definition changes everything that follows in our life. It is beyond being indelible, for it becomes the matrix from which the fabrics of your life are woven. To understand the wound intelligibly, thoroughly and with intense empathy and feeling is to give you a measure of understanding that explains most of the calamitous misfortunes of your experience. The wound is forever; however, it does become much less inflamed and after a while, amenable to consideration and thought. Growing old can help somewhat. I cannot imagine a human being extant who has not been wounded in such a way. Unfortunately we often come to our end avoiding the wound and its circumstances. I choose not to do so. As Nietzsche said, “knowledge is death.” It also sets you psychologically free. And in a special way, it may give you a compassionate stoicism to get on with the rest of your days.

In fact, as I see how I have lived as a passive-aggressive in my life, not sustaining relationships with men and women, too self-contained, private and self-sufficient if you will, not reaching out to others in communicable and feeling ways I realize that I was protecting what little nutrients I had for myself. It was an enforced self-sufficiency and that has proven most fatiguing as a human being. And the psychological and emotional costs are significant. And that is why I write, and that is why I became a therapist and teacher (unconsciously so) – to know,  learn,  reap and garner so as too fill in the gaping holes, the empty aquifer. I dreaded engaging the other, for the responses were unknown to me. I dared not risk, for I had no inner resolve for that. My negative perceptions of my fellow man and of others close to me have been shaped and configured by my first impressions and experiences of how I was related to by my mother, a maternal indifference. I have self-crucified myself on a cross of distrust. Benign neglect is ultimately malignant.

I imagine that I am in a morgue, an apt metaphor, and the doctor has spread open my rib cage with retractors, delving into my organs for a look see. The clamps attached to bone, sinew and flesh expose a gaping wound. It is here that he takes, in my mind, a measuring cup and dips it into my abdominal cavity and ladles out what liquids he can access. I associate to these liquids as an immense splash across my existence as I paraded through the decades. Ain’t much there to spread about and not wholesome at all.

As I age all is pattern. I am not into blame at this point. It is a special sadness for what could have been and what was not done. I see all the lost opportunities between myself and my mother, of books, ideas, understandings between parent and child that were not openly said and not surmised or thought of, guesswork that is not good for the young person. A child needs to know through word and touch that he is seen, that a measure of who he is becomes important to mother and child; that an exchange of affection creates that irritant from which a pearl is formed. I lacked such an irritant, and what is grievous here is that I sought it out at some primitive level or need. And when I look back which is my task as a human being at 71, when I assess my pilgrimage to nowhere in particular, for I am not on a mission , I am intensely saddened. I am just merely engaging and experiencing as the blinds go up and down every day.

I believe my mother to have been vastly deprived as a child herself, for she could not engage me as her son, nor read to me, or play board games with me, or discuss my daily life with me. Although she never did go to work throughout my childhood and youth, I was home with her and played alone, as I recall. The more I reflect about it the more it exhausts and appalls me, the waste, the lack of attention to a child who would have touched the stars with the palms of his hands if he had been encouraged. I know now I was a gifted child left outdoors to rust. And I did rust well. I feel that I had so much more in me throughout my life that had gone  unexpressed. I had been stymied early and being stymied is an unusually agonizing, frustrating feeling — at least it is so for me. I remember years in adolescence afraid to initiate or touch young girls of my age as if I was a crystal that might shatter. All my rearing led to an immature adulthood. The larger part of my life has been in restoration, planting trees in the forest, grading the soil, weeding, breaking new paths, using quarried stones for walks.

A few unexplained and nagging doubts, perplexities, come to mind when I remember the years from birth to about 10 years old, 1950, to be exact, on Brighton Second Street, in Brooklyn, Brighton Beach Avenue and the cranky el at the end of the block. I could go back to that place tomorrow and trace out the courtyards, lanes and hidden places I frequented as a young boy. On the avenue was the Lakeland movie house, a run down and seedy theater we all called the “Dumps.” Often I was sent to the movies here, admission a mere $.18 cents. When I recollect the pictures I saw on the screen, really conscious dreams, if you think about it, I wonder why my mother so often  sent me to the movies. It was safe back then for a young boy to go to the movies alone. She didn’t have to work. I wonder today what she did with all her time. Was she having an affair? And that is a loaded supposition, is it not? That thought comes before the regret — the resentment of this moment – that she could have spent more time with me.

I recall seeing Citizen Kane and The Search, both films dealing with mothers essentially. In one the mother sells the son, in the other a GI helps a waif try to find his mother after the war has separated them. Of special note is a scene involving a park and swings. The camera comes behind the boy when he sees his mother but the swings, moved by the wind, befuddle him, he can’t get to her. The children swings moved sideways as the boy moved longitudinally, struggling to get at the mother who is awaiting him after all these weeks and months. A caring mother seeking her son, a despairing mother abandoning him for money, I had neither. In one a mother is invested in her child, and in the other the mother sees her son as an investment for  twisted capitalistic needs, unthought out actions on her part. Perhaps his middle name, “Foster,” was more than apt.

My wound is one of indifference, a failure of my mother to mirror back my very existence. We all need to be mirrored. A horror of a kind as I think of it, quite chilling if I allow myself, after all these decades, to feel it. I was shut down so early. And I still feel it all now.

Mothers. It is here within the uterine, incorporative recesses of the maternal “hold” that the child is formed. Blame, anger, rage, resentment, surly, and incendiary  feelings at 71 come  nowhere near to what I feel. Allow me a reversal to get at what I am dimly feeling but wish to see so vividly in the light, blinds pulled up. I lost a daughter at age 34 by her own hand. Doubtless, what she felt from me was an absence of caring. And she would have been correct. I didn’t have the werewithal to express that, to give it, understand what she needed at the time. I know that. And so she experienced loss as I experience her loss today, for a suicide really kills two. No, I don’t blame my mother for that! I am responsible for my own grave limitations. And so I am beyond giving blame. And I am not in the psychobabble game of coming to terms, reconciliation or redemption. What I need I cannot even say, but I feel. I struggle with that inexact feeling each and every day, whether tomorrow sees the blinds never pulled up or not. I go to my demise troubled, hurting and beyond sadness. That is enough for one life.

I find solace in Epicurus’s epitaph: “I was not; I have been; I am not; I do not mind.”

 

Revamped Website, Same Old Writer

Welcome to a completely rethought site, courtesy of my wife, Jane, who has diligently and peristently dealt with the assumptions that Yahoo and BlueHost have about the average human being and his or her capacity to navigate the systems. Insular, to say the least, reminding me of monks whittling their quills to illuminate parchments created only for themselves and royalty, immensely self-regarding. To transfer from one to the other “host” involved more than a week of tedious question and answer through the impersonal world of the chat room. However, Jane acquired the inane lingo in a short time and she is, I repeat, an information specialist and  librarian well versed in databases and all that claptrap. And she had a hard time of it! And how about me, having grown up with model airplanes with propellers? You have to be a ninny not to see where we are headed, a world without critical thinking for it is no longer a requisite for daily functioning. We are in a transistional period and all such times, historically, involve a giving up and a taking in, followed by a brushing down with a comb to settle all the dander.

Looking for bloggers to forward my new book for a review, I have seen literally more than a hundred sites, all of varying quality. However, one knows when a site is lucid. I am seeking that here. I am very much open to suggestions as to how to make it easier for you, the reader, to find your way around. That’s the teacher and therapist in me.

Observe that I have grouped together reviews for you to peruse my three books, The i Tetralogy, Down to a Sunless Sea, and This Mobius Strip of Ifs. Using the Tags section or Cloud, as the jargon goes, you can get access to any topic discussed in any of the blogs, not all subjects having been tagged by me out of innocence. Or lack of knowing. Or not wanting to bother with what is expected of me.

If you go to the Category Section, scroll down and select a subject or topic I have written about; that might save you time to get at the heart of my work. In the sidebar is a title called Interviews with links to writers and bloggers who have interviewed me over the years. This provides needed insight into how I go about writing and living. Additionally on the sidebar are links to literary ezines that I have either been reviewed in, published or appeal to my sensibilities as a writer. Also in the masthead is a category called Stories/Articles which provides you with a wide range of essays that I ‘ve written over the years. Under the tab called Books you will find access to my published books with the usual promotional trumpeting. Buy the Book gives you Amazon for purchasing any of my books.

In 2007 Jane and I went to Spain and Portugal. In Barcelona we saw several sites in which Gaudi situated his masterpieces, private residences, parks and churches, uniquely his, uniquely Barcelona.  We were swept away by his vision, imaginative technique,  quirkiness and  efforts to make the organic world become alive in stone, tile and wood. Like Wright, he did it all, except Wright was mightily impressive while Gaudi indigenously overwhelming. Apples and oranges these two, but while one evinced grandeur the other evinced glory. So, the masthead has a tight exterior shot of one of Gaudi’s private residential homes for your pleasure. I hope to show more of his work here.

A final note and wholly self-serving which is the mud of any blog, except I won’t show pictures of a child’s birthday cake, unicorns from my fantasy world, or applaud the fact that I have a spouse of unearthly skills and talents.  Jane is an information specialist and a highly skilled librarian with other degrees as well. If like me your site has dated and in need of renovation, Jane can construct a site just like this one or a variation thereof. She has  mastered WordPress with all its widgets and witchery. Go to the sidebar and access her site, Telling About Yourself. You can make arrangements with Jane there.

Finally, if you are interested in reviewing my new book of personal essays and memoir, This Mobius Strip of Ifs, contact me with your address.

 

 

Anne Baxter in DeMille’s “The Ten Commandments”: “Moses…Moses.”

I just finished Freud’s Moses and Monotheism for about the third or fourth time in my life. At times it is like cracking walnuts in your mouth; it is the kind of book that tells you how uninformed you are are about most things, including yourself; of course, that is the part of us we know the least. The skinny on the book is that considering it was written about 72 years ago –it was published in 1939, Freud having published sections earlier – is that the archaeological and sociological information Freud drew upon is no longer valid as good science. However, it is a fabulous psychoanalytic ride. Even with my background, there are paragraphs beyond my brainpan’s capacity to fathom, or else I am drawing very old and my cerebrum has puckered here and there. Instinctual renunciation, return of the repressed, latency, obsessional neurosis are but a few of the concepts Freud delves into with the hand of the master trying to express what is second nature to him but conceptually difficult to us mere students. It is a most challenging book but worth each page. You don’t read Freud, you examine each sentence as if part of the Talmud.

Essentially he writes in his last years in a comprehensive way about how behaviors in each of us can be applied to the species collectively. He applies his psychoanalytic processes to society at large and it is fascinating to observe how a significant amount of what he shares does seem applicable if not basically true. I am always injudicious with my “idol,” giving him a wide berth to do his thing, enjoying how he messes with our minds. I root for Siggy. I was trained in analytic psychotherapy but my personality was ill-equipped to deal with or master the Newtonian concepts of Freud, the 19th century model of how energy, drive (instinct), and cathexis (attachment) work. I moved more into an expressive and interpersonal way of dealing with clients; however, the training was in analytic thinking and that has proven very worthwhile. In fact, centuries hence Freud might be remembered more for his critique and observation(s) about mankind as a whole, and  perhaps being honored more as a philosopher than a healer. Indeed, most of his cases were not successful. Like or dislike him, like Darwin, he will not go away. His Moses book guts religion, Judaism and Christianity, for what it is– illusion. Man needs his myths, his gods, for he is damaged in that way. Freud thought that a man or woman were not fully developed or matured until they had given up the obsessional neurosis of a god in the sky (see his The Future of an Illusion).

I am  psychologically free in ways I can not even describe as an atheist. The believers of late smack their smarmy lips as they go on to prattle about how poor Christopher Hitchens will now see their reality. Garbage in, garbage out!

Buy it or don’t buy it, Freud occasionally stops to patiently inform the reader, urging him to go along for a while with his suppositions and hypotheticals and before you know it he has surrounded you with his wagons. He posits, to wit, that there were two Moses’ and that one was murdered by the early tribes under his control; he argues that this primordial deed was repressed, an unconscious act, for suppression is a conscious choice; that centuries later that which was denied returned, much as each of us for several years after age five or so experience a latency period which later erupts as we move into our adolescence. In short, sexual features and feelings are repressed and reemerge years later. So an analytic concept long verified by therapists with clients and over the decades is applied to an entire Jewish people’s traditional history. It works. And if it does not work, at least you begin to fathom an important analytic concept or two about each one of us. Freud’s ability to apply individual behavior to the species at large is most telling, instructive and makes you think in global terms.

In the last few weeks or months, I can not say, I have had reminiscences about the years before I was ten, places I played in, streets I rode my bike on, early childhood chums, neighborhoods I prowled about, very dim and early relationships with young people who came and went, flitted about me and then were gone — in one case, a young girl I played with and then I realized she had moved away. Some of these memories can not be confirmed by the person who experienced them. I am simply not sure they were events. I am sure that my level of awareness was dim as I could not survey all about me in ways that ended in conclusions or observations, as if I was some primordial sea creature swimming onto the beach, looking about, sensing, but not realizing or seeing in a profound way. I could not explain my world. I was in it but not fully aware. I mildly experienced who I was. I take that back. I did not experience myself. I only sensed, as if I was being jabbed by the needles of everyday occurrences. You understand, don’t you? Think back.

When Kane on his deathbed says “Rosebud,” I can grasp that so much better now at this age. The sled had so much meaning for him, condensed meaning — the time in which he enjoyed his sled, the time in which he is sold by his mother; his ineffective father and the capitalistic banker Thatcher, all conspiring to bring about a personal abandonment he would he feel all his life. In one of the most often misheard lines in Citizen Kane, Susan Alexander mentions her mother and Kane responds in so many words, sotto voce, that he knows about mothers. I gag when I write that, for I remembr seeing the movie as a young child, all alone in the local theater, and I wonder today if I was not touched by my own feelings of being abandoned on levels I could not possibly articulate but that I felt. I must have incorporated the lonelinesss and the abandonment of Kane for there were such feelings, I hesitate here, in my own family, especially from my mother. In all my childhood my mother never read a fairy tale to me, any book at all. A puzzlement. Why? That is the rub, and the “enchantment” about the memory.

And so of late I am reflecting and trying to re-empathize with a host of significant memories, trying to string them on a necklace of affect and effect. I am imagining and reimagining the meanings they have for me, for it is an old cliche that as we near our end we turn back to our beginnings — what observation might Freud interject here! And so of late I have come up with a few sentences that might begin my very next book.

I was fucking abandoned when born. So what! And who cares? I am unfinished man…Dive Delve Descend.

And a happy Hanukah to my brethren.

Third Book

Working with the editors at Wheatmark we have finally reached the point after some 50 minor emendations and corrections and rephrasings and deletions and capitalizations and word choice that
“This Mobius Strip of Ifs” is close to publication — perhaps the third week of January. In the meantime I am compiling lists of bloggers, personal friends and acquaintances, Amazon reviewers, and giveaways just for the heck of it in preparation for the birth of my third book in five years. The cover (a mobius strip) is striking and we have the rights to this stunning drawing of a mobius strip, using the mathematical model as a thematic motif throughout the book and the binding itself. I’m already vaingloriously thinking of a Mobius Redux.

While this is proceeding according to plan, I’ve submitted the manuscript to a major contest in document form. I usually do this with all my work. In fact, “I Truly Lament,” a collection of short stories about the Holocaust is up and running as well and has also been submitted to a major contest. This book needs coddling which essentially means that I will try to have it published rather than self-published, spending the next year submitting it to publishers; if there is no luck, I will self-publish it as well. I am saturated with merriment because ten stories from the collection have already been published in fairly respectable magazines.

So it is a good moment this 14th day of December. The idea that I will have four books published during the latter decades of my life gives me pleasure; like a rolling stone I get no satisfaction, for that is always delayed in life, but I do feel something akin to the young boy who turns with his thumb on his nose and his tongue sticking out at all the waste of time, misdirection, pitfalls, gross errors, miscalculations of my own life, for having accomplished personal wants or needs rather than being demolished by self and society. Who knew that “Matty, I was called that for most of my young life, would grow up to become a writer of a kind; the horizons in my life, given my lower middle class upbringing and surroundings (housing projects) and quite ignorant father and mother, were dark. Very low flying scud devoured whatever awareness I could attain for myself, for I was asleep in life, conditioned, as we all are. I had no goals nor a sense of determination, dead to my self, inordinately shy and inhibited with girls, out of touch, unknown and I shudder at what I was, much like that foot that falls asleep in the movie theater, totally unrecognizable or sensed or even felt by the rest of one’s body. In the Fifties numb was good.

If I met a fellow alum from 1958 from Jamaica High School in Queens he or she would not recognize me, for the change in personality has been enormous. I am much, much more out there, in the open, scouting out the next day’s camp site, talkative, flashy, annoyingly vital, testy, alive and letting you know that it is great to be vitally alive and not dead. In the opening scenes of “Spartacus,” Kirk Douglas gets himself a good beating because he grabs his overseer and bites ferociously into his ankle; I associate to that when I think of how I learned to take a big juicy bite out of life’s ass in the best ways I could, that is, to live and add elan vital to my  life, to write as it counts and it does to me, not so much in perfecting my craft as to shouting out what I have to say, craft being a secondary thing with me.

So here I am Jewboy in Nevada, sterling silver mogen david stars for spurs, a saddle horn made out of ram’s horn, a palominsky for a horse, riding into the Vegas strip in search of kreplach or pirogi. Out of place, wondering if this is the right state to croak in, a decidedly non-kosher environment, even the Jews here reek of assimilation. I miss a bagel and shmear and a good argument with brethren. It is a winding down, I see it, so I feel it. I wake up grateful for that one more day in which I can write or do something in that direction. I see it in the distance, I hear the knell of the bell, and what wisdom my years have given me amounts only to a pinch of salt — even the end is new. Or better still, even the end is: nu?