Essays

Summer of Muslimgauze

Summer of Muslimgauze

Somewhere in the Middle West

Organizing my mp3 library is my preferred form of procrastination. Instead of reading the news, I make sure each song is accurately labeled and every album has the correct artwork. It’s a soothing antidote to the buckshot lunacy of the algorithm. The other day I noticed I have 2,362 songs by Muslimgauze. At first, I thought this must be an error, but no, I’ve somehow collected 189 Muslimgauze albums over the past twenty years, and new records continue to appear each month, which is prolific for someone who died in 1999. 

I heard my first Muslimgauze record in 1998 while deejaying the midnight hour at WCBN in Ann Arbor, Michigan. Rooting through the new releases one night, I found an album called Uzi Mahmood with a grainy image of a man’s face on the sleeve. The camera caught him looking at something off to the left, and he looked haunted, maybe afraid. There was no other information, but the hyper-saturated drums and clipped Arabic vocals permanently rearranged my sense of music. I imagined this record as an answer to the faceless mythos of groups like Underground ResistanceDrexciya, and Basic Channel

Years passed before I learned that Muslimgauze was the moniker of a white guy named Bryn Jones, who lived in a Manchester suburb. After reading about Israel’s invasion of Lebanon, Jones created the Muslimgauze alias in 1982 and devoted the remainder of his life to making albums with names like The Rape of Palestine, Vote Hezbollah, and United States of Islam—a move that, from today’s vantage point, feels like strip-mining another culture’s trauma for experimental music. The singer and producer Lafawndah offers a different point of view: “It would be superficial to say that Bryn’s art would be more legitimate if he’d spent time there—that perspective has turned contemporary art into a failed state of a different kind.” Perhaps both viewpoints can coexist, but my sense is his frantic output points to something heavier and weirder that will forever remain beyond understanding.

Noting the “inconceivably deep sadness” that haunts Jones’s music, the critic Ian Penman finds it hard to believe this melancholy came from a region he never knew firsthand. “The sadness seems much deeper and further ingrained than that, approaching pathological—almost as if the terrible dispossessed ‘birthright’ of the Palestinians corresponded, secretly, to some personal scar or shadow in Jones’s own life.” 

Although he was invited, Jones never visited Palestine. He hardly left his parents’ home. He was thirty-seven years old when he died. Twenty-five years later, the records keep coming. 

At least 215 Muslimgauze releases are circulating today: that’s at least an album per month during his seventeen-year career. He claimed he recorded a new album every week. Record labels could not keep up. Stop, they told him. We have too much. After he died, his parents told his label to take what they wanted. “I declined,” said Geert-Jan Hobijn, who runs Staalplaat. “Then they said they would put the rest in the dumpster, so I took as many masters as I could.”

I’ve been thinking about this image all summer: all that music stuffed into trash bags.

My first Muslimgauze record, twenty-four years later.

Jones remains a black box. Some say he had no interest in politics or religion. Others think he was a zealot. Now only the music remains. For such an elusive figure, his music is profoundly present. He was a talented drummer whose production skills edged toward the otherworldly. His drums beat against your brain stem, hammering out rhythms that cast a freaky shadow across everyone else’s narrow turf of industrial, hip-hop, drone, techno, electro, and dub. The field recordings and radio broadcasts that pepper his songs are astonishing when you check the date: 1987, 1991, 1995. Where was he finding this material before the internet?

“There are no lyrics because that would be preaching,” Jones said in a rare interview. “It’s music. It’s up to you to find out more. You can listen to only the music, or you can preoccupy yourself more with it.” But how do you reckon with such an overwhelming catalog? My music widget says I have over 291 hours of Muslimgauze in my library—nearly 13 solid days. 

And so the artist’s obsession becomes the listener’s obsession. 

It’s a worthwhile journey. If you’re new to Muslimgauze, here’s a short playlist I’ve put together of my favorite tracks. Start with thirty seconds: “Jagannath, Jagannath Who?” from Jaab Ab Dullah. Then track down “Uzi Mahmood 7,” a fistful of razor-blade drums, crackle, and dub. These are the building blocks of the Muslimgauze universe. Next, give the moody heat shimmer of Mullah Said and Sandtrafikar a shot. (Artists like Vatican Shadow have made entire careers out of attempting to reproduce these two records.) See also “Veil of Tear Gas” and “A Small Intricate Box Which Contains Old Blue Opium Marzipan.” Or consider Ryoji Ikeda’s Remix #6, a blitz of vision-blurring drums that reduces every other breakbeat to ashes. The remixes are where things get most interesting. Artists around the world continue to remix Muslimgauze, and, in the process, they are rewiring, reclaiming, and broadening Jones's single-minded vision. 

Jones’s fanatical output haunts me because his reasons remain unintelligible. An album every week. I try to imagine the rhythm of his daily life. His relationship with his parents. Those trash bags. His devotion has produced a body of work that continues to regenerate beyond the grave. New Muslimgauze albums and remixes will probably keep surfacing long after we’re all dead, and it’s a beautiful thought: a feedback loop of remixes from every continent until there’s just one great big endless drum.

Many of the above quotes are from The Quietus, which published several musicians’ reflections on Jones’s work, and it’s the most substantial information I’ve encountered. I’m still trying to track down Ibrahim Khider’s book, Chasing the Shadow of Bryn Jones, which is part of a handsome box set I cannot afford. Here’s a trailer from Cultures of Resistance Films.

Tiny Figures Among the Stones

Tiny Figures Among the Stones

I first encountered one of my favorite painters six years ago at the Art Institute in Chicago, a few days after putting my father's ashes in Saginaw Bay. At first, I was relieved to walk among the dignity of marble and skylights, grateful to escape the nervy loop of strip malls and service plazas. But the artwork felt grim, all those little spotlights shining upon the relics of the dead: Etruscan and Byzantine and Aztec, the endless cycle of flourishing wealth followed by rapid decline. 

Every image seemed to illustrate our inability to tame our appetites. Drunken feasts and forest bacchanals. Leering portraits of undressed women and four-headed bodhisattvas stomping on the heads of passion. There's no escaping our worst impulses, is there? The abstract artwork in the modern wings tried to sidestep this question with antiseptic sculptures and fields of color that left me cold. So I reversed through the halls, history rewinding as I hunted for the exit until, somewhere between the Renaissance and Impressionism, I hit a wall with three canvases of a crumbling Roman arcade.

Ruins filled each frame, and I nearly overlooked the tiny figures among the stones, their bodies dwarfed by architecture designed for gods. A woman crouched over a puddle, laughing as she scooped greywater into a pail. An elderly man groped among the rocks with a cane. Young lovers kissed against a statue’s shattered torso. A floppy-eared dog gnawed a bone. 

The Old TempleThe Fountain, and The Obelisk, by Hubert Robert, 1788

The label next to the paintings offered no information except their titles: The FountainThe Obelisk, and The Old Temple—dispassionate names that gave them the force of fact. They were painted in 1787 by Hubert Robert. (Such beautiful cadence in that name: Hubert Robert. Say it out loud and you can’t help but smile.) He was known for his capricci, a genre of architectural fantasy that disregards time and scale.

The happy woman with her pail of water, the blind man and flushed lovers, all of them were dwarfed by history, eking out an existence in its shadows. Although the painting was devoted to the relics of a grander age, it also felt like prophecy, a vision of future generations fetching water among the cinderblocks of a discount department store.

My eye kept returning to the dog. Its gums glistened as if on the brink of laughter, and a very different painting came to mind: a watercolor of a grinning clown that hung above my bed when I was small. How I dreaded going to sleep, knowing I would be left alone with that smile when my mother shut the door. Even with the covers pulled over my head, I could feel it above me, laughing in the dark. One night I slipped the clown under my mattress, and although its face was mashed beneath ten inches of cotton batting, I knew it was there, still grinning. So I slipped the painting into a stack of newspapers and buried it in the trash. My parents never noticed.

Thinking about it now, I was not afraid of the clown, only its smile, permanent and unexplained. Most nightmares begin with a smile like that: a favorite doll or jolly grandparent whose grin crosses the thin line between cheer and menace, when happiness exists without reason, something even a child can recognize. Attempting to be joyful without acknowledging the world's sorrow is dishonest. A grin without purpose is insane. Maybe true happiness requires a tragedy to transcend, like the face of the woman with the pail of water. Look how she's laughing: full-bodied and well-earned because she knows her life beneath the obelisk is bizarre; nothing to do but accept it.

This was enough to keep me returning to museums, where I would become increasingly emotional in front of paintings, hungry to connect to some kind of history or tradition, to stitch together a patchwork faith that might arm me against the darkness waiting for me when I returned to my car.

Scenes from America’s Taj Mahal

Scenes from America’s Taj Mahal

Notes from an accidental visit to a temple in West Virginia.

Big Wheeling Creek Road runs through the hills of West Virginia and dips straight into the uncanny valley where a pair of thirty-foot gurus dance against the naked winter trees. Maybe it’s their bug-eyed grins, flowy arms, or brightly painted skin—something about these statues bothers the soul. They’re too lifelike. Too chipper. And they’ve deeply complicated my ideas about West Virginia.

There’s a massive gilded palace that looks like a postcard from a distant time and land. A life-sized plastic elephant sleeps in the parking lot. Gazebos surround a man-made pond where a sign warns about the possibility of violent swan attacks. Surveillance signs say Krishna is Watching. This is the campus of New Vrindaban, once the site of America’s largest Hare Krishna community.

Since its founding in 1966 in New York City, the International Society for Krishna Consciousness has become comic shorthand for the wild-eyed ideologue you endure in subway stations, airports, and crowded streets. Or rather, the ones who find you. The street preacher and proselytizer, the faith-dealers armed with trinkets, literature, and impossible questions. Do you know the truth? Have you been saved? Where will you spend eternity? But I cannot fault their enthusiasm. Given my excitement whenever I discover a new favorite book or song, I can only imagine my behavior if I thought I’d found some kind of god. If I ever peek behind the veil and see the secrets of the universe, I’ll probably want to tell people about it too.

The woman at the welcome center caught me off guard. I expected a hard sell for conversion. Instead, I felt as if I was signing in to see my dentist. “Feel free to wander around the grounds,” she said, offering a map. “When we built this place in the 1970s, we built it with love. If we needed a chandelier, we’d go to the library and read about how to build one, and we’d make the best chandelier you’d ever seen. It was beautiful because we worked for free. Because we worked with devotion. Not like today.” She gave a sweep of her hand as if gathering the broken pieces of a vision, a tiny gesture that somehow summed up the indignities of end-game capitalism.

The temple was a vast polished floor beneath an ornate ceiling of carved teakwood. Black metal cages lined the walls, holding imprisoned gods and idols. A lion-headed Vishnu. Bug-eyed creatures, spangled saints, garlanded gurus, and yes, very beautiful chandeliers. All of this was monitored by a disturbingly lifelike recreation of the Hare Krishna founder, Swami Prabhupada. A gold watch glinted on his mannequin wrist.

Statue of Abhay Charanaravinda Bhaktivedanta Swami Prabhupada

Young faces with bright teeth fill New Vrindaban’s brochures, faces straight from central casting for one of those docudramas we know by heart by now: the idealistic American utopia that veers into something darker than the world it hoped to replace. A quick search of “New Vrindaban” is appended by words like scandal, abuse, and murder. A 1987 headline from the Chicago Tribune: “Murder, Abuse Charges Batter Serenity At Big Krishna Camp.” A year later in the Los Angeles Times: “Hare Krishna Swami in Prison for Killing Serves as Guru to Inmates.” Ten years later in  The New York Times, 1998: “Hare Krishna Movement Details Past Abuse at Its Boarding Schools.” In the wake of two dead bodies and rumors of sexual abuse and drug trafficking, New Vrindaban’s guru faced charges of racketeering, mail fraud, and conspiracy to murder two ex-members who said he was abusing children. After hiring Alan Dershowitz as his defense attorney (see Mike Tyson and OJ Simpson), Kirtanananda Swami served two years of house arrest. A few weeks after his release, he was caught molesting a boy in the back of a Winnebago.

Yet another tale of people hungry for meaning falling prey to a charismatic predator who stripped his flock of their possessions and dignity. Moments of violence are happening right now in every corner of the world, but when these stories emerge from utopian communities, they feel far more damning: proof of a nagging suspicion that there’s no such thing as harmony in any society. That no matter how far-flung we travel or how spiritualized we become, the wickedness of men will find us. A line from Voltaire’s Candide comes to mind: “If hawks have always had the same character, why should you imagine that men have changed theirs?”

Work on the temple continues

When it opened in 1979, Prabhupada’s Palace of Gold was heralded as America’s Taj Mahal. “A spiritual Disneyland,” the newspapers called it. As New Vrindaban’s membership and finances dwindled in the wake of the scandal, the palace fell into disrepair. The painted teakwood began to flake. The 22-carat gold leaf started to peel. But today the temple is back in fighting shape, part of an ongoing renovation funded in part by the community’s decision to lease its land for natural gas drilling. Returning to the car, I remembered the cynical little gesture of the woman at the welcome desk. Then the palace shrank in the rear-view mirror, vanishing behind a curve like something I had dreamed.

As I drove out of the hills toward the interstate, the Christian mega-churches, American flags, and billboards for faster download speeds, adult videos, and all-you-can-eat buffets seemed as spectral as America’s Taj Mahal, a collective hallucination like any other. I thought about our dogged faith in the fiction of nations and money and fame. All of it growing rickety, ready to be replaced by something new.

Further reading: Statues of the 15th-century gurus Chaitanya Mahaprabhu and Nityananda; Hare Krishna founder Swami Prabhupada; Voltaire, Candide; Kirtanananda Swami; the Palace of Gold.

Philosophy Is an Ambulance
A pier into Saginaw Bay

Philosophy Is an Ambulance

Grief can arrive on a gust of wind, a glimpse at a calendar, or a half-heard snippet of conversation on the street.

When I rejoined Facebook last month, its algorithm encouraged me to befriend my father. There he is with seven mutual friends, wearing his fishing hat, sunglasses, and rugged grin—a snapshot I took on the bayou one Sunday afternoon when we ate sandwiches and puttered around Lake Salvador while he pretended to fish. I clicked his name and saw strangers wishing him a happy birthday even though he’d been dead for nine months. His digital life continues, a ghost in the machine. For a moment I considered becoming friends with him, perhaps the most tragic of digital gestures. There are probably ways to alert Facebook to his death and shutter his account, but I do not want to remove the traces of him that remain.

Then it comes. The sighing and lip-biting, the hollow gut feeling like I might float away or fade to black. The impulse to run although there is nowhere to go. I pace. I wait, trusting this will pass. They say grief comes in waves, a cliché that sounds benign until you’ve slid into its troughs. In The Year of Magical Thinking, Joan Didion describes these waves as “paroxysms, sudden apprehensions that weaken the knees and blind the eyes and obliterate the dailiness of life.”

Waves have rhythm. Grief does not. It oscillates at random, triggered not only by photographs, memories, and empty rooms but also by the mysterious and unseen machinations of the mind. Grief can arrive on a gust of wind, a glimpse at a calendar, or a half-heard snippet of conversation on the street. The way somebody pronounces February. And the paroxysms begin, the fear of tipping over. The flutter in the belly as if something vital is coming unbound, an untethering from the world. Sometimes people notice. Usually, they do not. If somebody asks what is the matter, I shake my head and smile. Shrug it off. Change the subject.

Nobody wants to hear about dead parents, my failings as a caregiver, or my encounter with the void, how it must feel like the monitor flat-lining at the hospital, an endless dial tone. Didion again: “People in grief think a great deal about self-pity. We worry about it, dread it, scourge our thinking for signs of it. We fear that our actions will reveal the condition tellingly described as ‘dwelling on it’. We understand the aversion most of us have to ‘dwelling on it’. Visible mourning reminds us of death which is construed as unnatural, a failure to manage the situation.” Perhaps more to the point, there is that haunting line from The Little Prince when the pilot fails to comfort the child: It is such a secret place, the land of tears.

But what interests me, what I try to keep my eye on when each new wave arrives, is that we are even lifted out of the trough, that grief does not simply drown us. What is this impulse? This phenomenon was best described by Samuel Beckett—I can’t go on, I’ll go on—and it can be as subtle as a muscle tremor or it might feel like leaping across a canyon. But sooner or later the wave passes. For a while, anyway.

Perhaps a biological imperative allows each wave to ebb, something hardwired in the brain. Our psyches are such elaborate mazes of defensive architecture, cluttered with gates and snares that prevent us from looking directly upon our pain for too long. The brain does its best to distract us from the most difficult memories before they can take shape and bare their teeth. But cracks emerge nonetheless. Last month I made an appointment with a grief counselor and there was much talk of walls and buried emotions, the complex engineering of the mind. When I mentioned that I found comfort in philosophy, that I craved some kind of faith and felt nostalgic for the rituals of the past, she smiled politely. “That’s interesting,” she said. “But I don’t think philosophy and faith will be relevant to our work here.”

Then what are they for? “The fear of death is the beginning of philosophy,” wrote Will Durant. “And the final cause of religion.”

In Cambridge Ancient History Vol. VII, C. F. Angus describes the new task of philosophers in the confusion that followed the death of Alexander: “Philosophy is no longer the pillar of fire going before a few intrepid seekers after truth: it is rather an ambulance following in the wake of the struggle for existence and picking up the weak and wounded.” Here is the shift from the starry-eyed metaphysics of the ancients to the guarded tactics of the cynics, skeptics, and stoics who sought protection from a chaotic world. “Sometimes even to live is an act of courage,” said Seneca, and this emphasis on endurance as a virtue would become the proving ground for the otherworldliness of religion.

Philosophy has been an ambulance for me this year. I do not claim to understand much of it, but the widescreen language of Spinoza, Voltaire, and Schopenhauer have provided reassurance by offering a connection to a larger whole. My attraction is largely tonal: I am drawn to this grammar which describes grief as a major chord in the music of the spheres, the harmonics of the cosmos. Bertrand Russell disagrees: “I cannot accept this; I think that particular events are what they are, and do not become different by absorption into a whole.” But he admits that “Spinoza’s principle of thinking about the whole, or at any rate about larger matters than your own grief, is a useful one. Such reflections may not suffice to constitute a religion, but in a painful world they are a help towards sanity and an antidote to the paralysis of utter despair.” This primitive urge to think about the impossible whole fascinates me.


But this is a story about ashes. My mother’s ashes float somewhere in the sea after I drove across the nation seven years ago, undid the twist-tie on the plastic bag, and poured her into the Pacific because she’d always wanted to see the ocean. My father’s ashes sat for months in a plastic box inside a velveteen bag tucked in the back corner of his old army trunk, waiting for me to follow his instructions, which couldn’t have been simpler: “When I die, just toss my ashes in the nearest body of water,” he said. “Even if it’s a puddle.”

I do not have any superstitions about my father’s remains. I know that he is gone, that the velveteen bag contains only powdered bones. (Despite the funeral industry’s preferred portmanteau of ‘cremains’, we tend to refer to them as ‘ashes’; perhaps this keeps our dead close to the magic of fire.) And yet I have delayed putting his ashes in the water. Why? Because I am not ready, I told myself. I want clarity. I need closure. But these things are myths. My desire for ritual eventually led me to the interstate for a pilgrimage through service plazas and sodium lights. This is how I mourn.

I drove to the bottom of Louisiana, my first trip down those bayou roads without my father. At the small wooden dock where we had launched his boat, I watched two old men drink beer and fish, their laughter ricocheting across the still waters, and I thought of the times we fished together. In Michigan when I was small. On the bayou in his last years. In Wisconsin with his oxygen tank. I tipped the black plastic box over the water and poured out half of its contents. His ashes curled through the bayou in a cosmic pattern that conjured nebulae and galaxies, a reassuring image that I kept pinned to my mind as I pointed the car north and drove twelve hundred miles to deliver the rest of his remains to Saginaw Bay, where my grandfather rests. I listened to philosophy while I drove, finding comfort in these instructions from Epictetus: Never say something is lost, only that it is returned.

In Michigan I walked to the end of the pier and stood in the grey wind, perhaps hoping to summon a cinematic moment of insight. It did not come. Climbing down the damp rocks, I poured the remains of my father into the bay, where I imagined his ashes running from the lakes and bayous into the ocean where he will find my mother.

Driving home, I experienced no revelations and felt no resolution. Yet I felt more at ease with the unpredictable waves of grief for my parents. Let them come when they will, for they sometimes bring glimpses of transcendence that have no vocabulary. “No doubt the spirit and energy of the world is what is acting in us, as the sea is what rises in every little wave,” wrote George Santayana. “But it passes through us; and, cry out as we may, it will move on. Our privilege is to have perceived it as it moved.”

Perhaps it does not matter what shape our faith or rituals take; what matters is the urge — however dim or fleeting — to believe in something greater: the desire to escape the trough.

The Last Year of My Father

The Last Year of My Father

I thought grief would be dignified and monumental like a tower shrouded in mist or quiet days spent weeping in a dim room.

When I lost my mother, I met grief for the first time and I ran. I thought grief would be dignified and monumental like a tower shrouded in mist or quiet days spent weeping in a dim room. Instead I discovered that grief is a feedback loop, a wash of static riddled with fractured images, creepshow dreams, and broken questions that would never be answered. How could this. Why didn’t she. If only I. This wasn’t supposed. Science tells us grief is a biological necessity, a Darwinian driver that teaches us to protect the ones we love—or at least, the ones who still remain.

My father’s breathing became labored in the years after my mother’s death, as if staying alive had become too demanding. He was diagnosed with pulmonary fibrosis, which meant his lungs were stiffening due to a patchwork of scars that covered the precious tissue which translates oxygen into life. The doctors could not point to a specific cause beyond a crossed wire somewhere deep within the machinery of his cells, a faulty line of genetic code which sent his immune system on a terrible mission that rejected the logic of life: his body was attacking itself.


We tend to die when we are not working. A stroke at the dinner table, a car wreck on a Saturday night. We like to die on weekends or during the holidays. This is something I learned while waiting in Wisconsin with my father for a lung, a factoid gleaned from hours spent sitting among gnarled old men waiting for their telephones to ring with news of fresh hearts, livers, and lungs—men who cheered when they learned that Wisconsin does not require motorcyclists to wear helmets. Each night they gathered with their oxygen tanks, heart attack vests, and grisly math, eager for the weekend or the next holiday to come. “Might get some lungs now,” they said before Easter. “Thousands of drunk drivers can only be a good thing,” they said as Memorial Day approached. “Alcohol and explosives are better than Christmas,” they said on the Fourth of July.

One of these men approached my father when we first arrived in Wisconsin, our nerves still buzzing with the speed and heat of the interstate after a sixteen hour drive from New Orleans. He was the kind of man most people ignore, the lonely soul puttering at the margins of a discount superstore with uncombed hair like a cloud, or the blurry retiree doing the crossword on a bench at the mall—but here in the rooms where we would wait for a lung, he was an authority, and he leaned towards my father and asked, “What’s your blood type?”

My father took a drag from the oxygen tube that circumnavigated his head. A puff of compressed air accompanied his answer. “O positive.”

“Me too.”

They nodded at one another, enjoying this primitive bond. The same brand of blood flowed through their bodies yet they would not hinder each other. My father needed a lung; the white-haired man was waiting for a heart. The wheels of my father’s oxygen tank squeaked down the hall as he shuffled towards our room. The white-haired man picked up a butter knife and grinned as he followed my father, making swift stabbing motions towards his backside, mugging and jiving for the others in the lounge. “He’s the right blood type and I need a heart.” Everyone laughed. He would play this gag dozens of times in the months to come. At first I did not think this was funny, but in a few months I began to understand.


The tribalism of our bodies is profound. If one of our cells encounters another cell that does not share the same DNA, the body launches an attack. It’s the scene in the science fiction film when an interloper’s retina or barcode fails to scan and red lights flash through corridors to the beat of a klaxon alarm while men with guns hunt down the intruder. Organ rejection is the enemy of transplantation, a defense mechanism that has only been brought to heel in recent years.

The first recorded attempt at installing an organ in someone else’s body dates back to the third century BCE when Bian Que, a Chinese physician and author of The Yellow Emperor’s Canon of 81 Difficult Issues, claimed to have used anesthesia to swap the hearts of two men, one with too much willpower and another who was too passive. Hoping to achieve balance, he “cut open their breasts, removed their hearts, exchanged and replaced them, and applied a numinous medicine,” according to a Daoist text. “And when they awoke, they were as good as new.” Some Catholic histories describe the replacement of Emperor Justinian’s gangrenous leg with the limb of an Ethiopian man, a surgery performed by the twin physicians Damian and Cosmas, for which they earned sainthood. Such accounts are improbable yet the idea of saving someone’s life with the parts of another is rooted in our most ancient notions of healing. In the early twentieth century, a series of successful transplants were performed on dogs, chimpanzees, and convicted murderers, and the increasingly refined use of immunosuppressants extended the likelihood of survival—yet the procedure remains haunted by rejection. (A sixteenth-century doctor in Italy attributed this phenomenon to the “force and power of individuality.”) Transplantation is particularly risky for the lungs because this is the organ that connects our bodies with the outside world, its dust and heat and microbes.

Whenever my father’s telephone rang, we jumped, knowing that if a voice on the other end offered him a lung, we would have one hour to get to the hospital where they would cut a slit along his ribcage, pull out one of his bad lungs, slide in the new one, and attach it to the trachea. “Sort of like changing a vacuum bag,” said the doctor. The other bad lung would remain in his body. Something needed to fill the space.


One lung is fine. People can run marathons with one lung. The pope has only his left lung, due to tuberculosis when he was a boy. In terms of daily activity and life expectancy, one lung is just as good as two.

Two years ago my father underwent a battery of tests and procedures while they determined his suitability as a candidate for a lung transplant. The word ‘candidate’ lingers in my mind as I recall him shaking the hands of dozens of doctors and administrators, a man running for the strangest kind of office as they peppered him with questions about his drinking habits and propensity for depression, about his lifestyle and future plans. Would he go back to work if he received a lung? Would he exercise and eat sensibly? These queries were polite variations on a single question: Do you deserve to live?

They inspected my father’s heart with a camera and biopsied his lung tissue. They removed all of his teeth to reduce the possibility of infection. He spent hours chewing on an elaborate mouth guard attached to a screen, a dystopian video game that refined his swallowing reflex to minimize the possibility of food or liquid entering his trachea. A series of social workers interviewed me, evaluating my fitness as a caregiver.

We sat in the cafeteria of the Veteran’s Hospital in Madison, one thousand miles from home. We watched snow cover the windows while we killed time until his next appointment, a test to confirm that he could still walk at least nine hundred feet in six minutes. If not, they would remove him from the list, classifying him as a lost cause, a body unworthy of someone else’s organ. Yet I never saw my father express even the faintest glimmer of anxiety. Even as his breathing grew worse and he maxed out all of his oxygen machines, he would smile, dutifully taking his daily trips to the Dollar Store, and we spent long afternoons by the Wisconsin River, where he pretended to fish. “If I’m going to die,” he said, “I might as well die outside doing something.”

Watching him calmly munch a cheeseburger in the hospital cafeteria, I realized this distant figure throughout so much of my life had become a grand old man and one of my closest friends while I was not looking. Only now do I see how hard he worked at this. He had traded his beer and high blood pressure for a grey beard and a fishing hat, and he would wake before dawn to meditate and highlight passages from a book by Thich Nhat Hanh, a Buddhist monk he referred to as ‘Nathan’. Going through his files after he died, I found folders labeled Sears pension, Telephone bill, and Buddha. He went to all kinds of churches with anyone who wanted company, and he began talking about the godhead, how everything is connected. He loved the water. He loved boats. “When I die, toss my ashes in the nearest body of water,” he’d say. “Even if it’s a puddle.” Rather than watch game shows and gossip with the other patients, he bought an old canoe and began refinishing it in the parking garage beneath the hotel. The fumes from the paint thinner and varnish were ferocious, but he figured a new lung was on its way.

Then the doctors called. They told us there was an organ drought—a grisly phrase that conjured apocalyptic scenes along dried riverbeds.


At first we believed in math. We spent the month of March researching blood types and averaging wait times, hoping to calculate the odds of receiving a lung. Did the odds improve with each passing day or was it like getting struck by lightning? In April we passed through a superstitious phase of gut feelings and prophetic dreams. We sensed vibrations in the air. “I’ve got a feeling the call will come today,” we said. But the phone never rang and we ended the month believing in bad juju and jinxes. We began playing long quiet games of chess in May, keeping an ear cocked for the phone. Summer came and we watched our neighbor down the hall return from surgery with two new lungs, his face nearly unrecognizable without his oxygen mask. Another man gave up after nine months of waiting and flew home to Arizona. Time became elastic and calendars stopped making sense. In June we switched from chess to backgammon, thinking we might as well include an element of chance.

At a pizza party for the transplant patients, a man took me aside. “People don’t know how to pray for this,” he said. “You only get an organ if somebody else dies.” I learned a lot about prayer during the ten months we spent in Wisconsin. In the laundry room, I listened to a woman describe the night Jesus Christ said her husband would get his heart next Tuesday. When I awkwardly tried to comfort the family of a man who died during surgery, they smiled and said everything was okay, this was part of God’s plan. I met a Marine who was visiting the parents of the boy whose heart he received. They put their ears to his chest, listening to the sound of their son’s beating heart. I imagine them posed in a pyramid formation, an echo of the Pietà. I envied this faith that comforts so many people in the face of uncertainty and tragedy because I did not know how to find my own.

Instead I drove. After midnight I would hit the interstate and speed west, fantasizing about space and light yet never daring to drive further than thirty miles from the hospital. When the lights of the city faded away, I would pull to the side of a county road and look at the stars while making my usual promises to be a better son, a more patient man. Then I drove back to our room where I would fall asleep to the sound of my father’s oxygen compressor, a burst of air hissing every six seconds through the night.


“With falling gas prices and a beautiful holiday forecast on the horizon, a record number of Americans are expected to hit the road this weekend. Experts are predicting an increase in auto accidents, so be careful out there.” I smiled at the radio, no longer caring that I was rooting for death.

My father’s telephone rang at six o’clock on the Friday before Labor Day, a weekend filled with car wrecks just like the radio had advertised. “Will you accept the lung of a recently deceased individual?” asked the voice on the phone. Oh god yes, he said. “Be at the hospital in one hour.”

After the surgery, I watched his lungs on a monitor while a camera rooted through glistening pinks and reds, tracing the dark purple slashes of a suture. For days he teetered between life and death, and I watched the numbers and quizzed the doctors, absorbing a brutal lesson in the language of blood, gases, and tubes. At night I dreamt in the beautiful slang of nurses. “You only have a true mixed Venus when you insert a swan,” they said. I learned that a patient who insists on standing up despite repeatedly falling down is called a ‘jack-in-the-box’. But my father did not stand up. Not at first. Each time I looked at him I wept, thinking about the life he had in front of him. When he finally opened his eyes, I took his hand and told him he was safe, that he made it. “It’s coming along,” he whispered.

After nine days of blood clots and collapses, of atrial fibrillation and intubation, the doctors removed the tubes and wires from my father. With one hand on his IV pole and the other wrapped around my arm, he took his first walk towards the nurses’ station. “King for a day,” he said. “I’m ready for the world.” We took dozens of careful walks through hospital hallways in the weeks that followed, and each time he went a little further than everyone expected. When I told him I was proud of him, he would give a small smile and say, “It’s coming along.” Each night when I left the hospital, he would turn off the lights in his room and wave a flashlight in his window while I stood in the parking lot, watching his little show.


Every Saturday we would explore Wisconsin, looking at its hills and Main Streets and lakes. Six weeks after his transplant, my father and I drove towards a spot on the map that advertised a scenic waterfall. When we arrived, there was a two-mile footpath through the woods. I didn’t want to walk it and I didn’t expect my father to manage it. “Let’s do it,” he said. Watching my father walk among the autumn trees, kicking leaves without any tubes or machines, I felt a sensation I can only describe as grace. No matter what happens, I thought, this moment was worth everything we’d gone through. I told him I was proud of him. “It’s coming along,” he said.

After 301 days in Wisconsin, we packed up the phenomenal number of spatulas, paintbrushes, floor lamps, and other things my father acquired from the Dollar Store, and at seven o’clock on a Sunday night, we pointed the car at the Mississippi River so we could follow it home. We were hungry, but we would wait to eat until we were in a different state. And there’s my father and me, sitting in a parking lot on a hill overlooking the river, munching cheeseburgers and watching the lights of Dubuque.

In one month, a doctor would tell me that my father was the sickest man in the hospital. I remember thinking he would take pride in this fact when he got out of the hospital, and I told him about it while we took another drive.


Septic shock is as fast and brutal as it sounds. On New Year’s Day, my father said he had a sniffle. He refused to go to the doctor. The next morning he could hardly stand. I poured him into the backseat and rushed to the nearest emergency room. They said his body was too weak to build a fever, that his blood had turned toxic. They flooded his body with antibiotics and fluid, which crippled his breathing. Soon he was on dialysis and intubated with a swan in his neck—his vital functions once again outsourced to machines. At dawn, a nurse brought me a telephone, a rerun of the day I lost my mother, while a doctor’s voice told me my father was going to die, that all they had left to offer was prayer. “If I had brought him here twelve hours sooner, would it have made a difference?” I wanted absolution. “Theoretically yes,” he said. “But he was very sick and weak, so theoretically no. I’m afraid this is a question you will carry for the rest of your life.”

I held my father’s hand while I watched the numbers on the monitor like an altar, whispering please don’t go while his blood pressure quietly dropped to single digits. The red and blue numbers for his pulse and oxygen saturation flicked to white. A nurse shut off the screen.


Here is an endless bayou with lots of birds and interesting clouds in the sky, and there’s my father in a little tin boat with my mom sitting next to him and his dog in the front, a breeze blowing through its fur. This is what I hope heaven looks like for him.

I kissed my father on the forehead and told him I was proud of him, and for the first time, he did not say it was coming along. I told him he was the kindest and gentlest person I’d known and he was leaving this world very well-loved. In the end, this might be the best any of us can hope for.


After my mother died I drove her ashes from Michigan to the California coast because she always wanted to see the ocean. And I kept driving for weeks, thinking I could outrun my grief at seventy miles per hour, hoping I could escape it by hiding in unfamiliar towns and anonymous motels, by becoming a stranger who sometimes marveled at the terrible thing that happened to an old friend named James.

Now that my father is gone, I want to run again. My first instinct was to point my car into the Yukon or the Mojave desert. But this impulse faded as quickly as it came. My father taught me some crucial lessons about patience and grace in his final year. In the days after his death, I received calls and visits from so many lives he had touched, even when he simply took his dog for a walk or futzed with his boat. I discovered he had a ladyfriend and they were making plans to live together. (“Don’t hang up any pictures in the new house,” he’d written her. “That will be my job.”) Despite losing the ability to breathe without gasping, my father remained present in the lives of others and I could hear him telling me to do the same.

I see him standing in the woods on that October afternoon with his quiet little smile, a simple gesture that reflected an entire life. A constellation of love and loss and dogged faith in taking one more step no matter how shallow our breath might be. His smile radiates through me as I write this and I know there is a lesson here even though it evaporates as soon as I try to describe it. Much like the impossibility of looking into the sun, perhaps it's better to simply enjoy the light.

Isadora Ain't Foolin' Me Any

Isadora Ain't Foolin' Me Any

They say she invented modern dance. She did not survive America.

In 1927, Isadora Duncan said “Let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance.” They say she invented modern dance. She did not survive America.

Instead of wearing ballet slippers, Duncan danced barefoot and wrapped herself in scarves. She believed all movement originated from the solar plexus, and her explosive gestures scandalized crowds, as did her politics, which were inspired by Plato’s The Republic and the theory of evolution. These were the Red Scare days when being a Darwinist was a controversial thing, let alone being an atheist bisexual feminist Marxist. She was banned in Boston after removing her red sash while dancing. “This is red and so am I!” she shouted to the audience, baring her breasts. Life became difficult for Duncan after that. In Washington DC, a group of evangelists demanded that she be deported. Newspapers ran headlines calling her a Bolshevik. Several cities cancelled her shows.

In 1922, Duncan performed in Indianapolis. “Isadora ain’t foolin’ me any,” mayor Lew Shank told the press before she arrived. “She talks about art. Huh! I’ve seen a lot of these twisters and I know as much about art as any man in America, but I never went to see these nude dancers for art’s sake. No, sir, I’ll bet that ninety percent of men who go to see these so-called classical dancers just say they think it’s artistic to fool their wives. No, sir, these nude dancers don’t get by me. If she goes pulling off her clothes and throwin’ them in the air, as she is said to have done in Boston, there’s going to be somebody getting a ride in the wagon.”

Shank ordered several policemen to stand near the stage and monitor her performance. They had instructions to arrest her if she did anything remotely obscene. She did not. Her performance later that evening, however, is a different story. A drunken party at her hotel echoed through the night, culminating in a frightening crash early in the morning when she threw a piano over her balcony. Some say the piano was dropped on a dare. Others say Duncan threw a tantrum and threatened to give up music. Others say no piano was thrown at all, that the police made this up as an excuse to run her out of town. Either way, she was told to never return to Indianapolis.

Perhaps this is a good time to mention that Mayor Shank was a former clog dancer and vaudeville performer who rose to fame when he dressed up as a little girl in a golden wig, climbing a ladder to heaven. Indianapolis elected him twice.

The FBI followed Duncan. Crowds booed her, yet they flocked to her shows. The American government revoked her citizenship and she fled to Europe where she made drunken scenes in Left Bank cafés, attracting the wrong sort of attention and on one occasion affording Scott and Zelda Fitzgerald the opportunity to steal a nice pair of salt and pepper shakers. Duncan’s life was tragic: Her two children drowned in a car that plunged into the Seine river. She married a young poet who committed suicide. Another child lived only a few hours and was never named. On September 14, 1927, Duncan was driving through the south of France when her red scarf got tangled in the rear hubcap of her convertible. She died instantly. Upon hearing the news of Duncan’s death, Gertrude Stein said “Affectations can be dangerous.”

This piece appears in The Manufactured History of Indianapolis, a collection of semi-fictions published by We Are City in 2013.