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I am a restless writer of fiction, film, and music. I scripted such films as 9 and ½ Weeks, Sommersby, Impromptu (personal favorite), What Lies Beneath, and All I Wanna Do which I also directed. Both my documentaries, Marjoe and Thoth, won Academy Awards. Formerly a recording artist, I continue to write music, posting songs on my website. I live in New York with my husband James Lapine. My second novel, the paranormal thriller Jane Was Here, was published in 2011. My latest film, Learning to Drive, starring Patricia Clarkson and Ben Kingsley, came out in August 2015, now available on VOD, DVD, and streaming media. This blog is a paranormal memoir-in-progress, whenever I have spare time. It's a chronicle of my encounters with ghosts, family phantoms, and other forms of spirit.

Sunday, October 23, 2016

A Personal Remembrance of John Lennon

John Lennon’s birthday passed recently. At readers' requests, I am re-posting a personal reminiscence I wrote five years ago for this blog. The story relates, in a woo-woo way, to the paranormal memoir I’ve been unfurling over time, "At Home With a Ghost," 55 chapters in all by now. (Those who are coming to this serialized memoir for the first time, you can read the complete opus to date by clicking here.)

Regular readers of this saga will remember that in 1974, when I was 27, I visited a psychic named Frank Andrews (see chapters One, Two and Three). I was being troubled by a spirit presence in my parents’ house, and Frank helped me learn more about the ghost’s identity.

It was in this same year that I was dating singer-songwriter Harry Nilsson, off and on. John Lennon was in his “Lost Weekend” period, and also producing Harry’s “Pussy Cats” album. I’d met John before, when he and Yoko moved to New York, so I already knew him. John and Harry were stoned to the eyeballs whenever I saw them. The L.A. recording sessions were reportedly a zoo with the cages open.

They both came to New York to mix the record, checking into a two-bedroom suite at the Pierre Hotel. To clear his head for the work, John was trying to get a handle on his over-indulgence, and even Harry went on a fast (which he ended after 24 hours by ordering up a double Brandy Alexander). John was also trying to get back with Yoko. He was on his best, subdued behavior when she came over to the Pierre and the four of us sat down to a room-service dinner.

John and Yoko seemed rather tentative around each other, so I tried to fill a silence by telling a story that had taken place only a few nights before. I’d been eating at a sushi bar next to an exquisite young Japanese woman by the name of Maiko who struck up a conversation with me. For some reason she confided in me that she was Mayor John Lindsay’s mistress.She described their trysts at her apartment, whose high picture windows looked down on the glittering Manhattan nightscape. Lindsay would stand at the window and tap-dance, stark naked except for hat and cane, laughing with glee at the city he owned.

At one point Maiko suddenly remarked, “Sometimes I am psychic, and I have a feeling that you will be famous.”

I responded: “That’s funny, because a professional psychic just said the same thing to me.”

“Oh yes,” she said, with a weird confidence. “You mean Frank.”

How could she have known that? I wondered to Harry, John, and Yoko, then continued to describe my visit to Maiko's apartment, when Yoko interrupted to demand the name of the psychic. She wanted to see him. Immediately. (She was addicted to soothsayers.)

So I put her in touch with Frank. Yoko went to see him alone; John was too afraid to go (he went later, though). The next time we all had dinner, she reported that Frank had impressed her hugely with his predictions. The one that struck her the most was a cryptic statement about John: “He sleeps in blood.”

She and John had discussed the meaning of Frank’s words, and both decided he was seeing something from the past, not the future: the blood referred to the miscarriages Yoko had suffered when they'd been trying in vain for a baby.

The image returned to me six years later, when I heard that John had been shot and killed. I pictured him the way Frank must have seen him: lying in his own blood, as if asleep.

‘Night, sweet prince. And flights of angels sing thee to thy rest.

Wednesday, October 12, 2016

At Home With a Ghost - 55

1974 RCA publicity photo with clean hair

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

1974 was the year RCA released House of Pain, my first album as a singer-songwriter. It was the year I loved and lost a man, so my songs poured out the sweet and the bitter in equal measure. Once I was done recording, I rolled up my sleeves to begin my new project: self-pitying wine-soaked self-destruction. I had gotten off to an impressive start when I met Harry Nilsson.

The album’s title song came from the Charles Laughton horror classic Island of Lost Souls. Laughton played a mad scientist grafting men to animals in his lab, which his unfortunate victims – now “manimals” – called “the House of Pain.” I spent my record advance making a weird short film to accompany the title track, including animation and clips from the horror film. This was before music videos. I urged RCA to use their newly developed video players to show the film in record stores, to see if it had any effect on my sales. They failed to see the point. However, the video did result in my meeting a long-adored idol.

I was fresh to the art of songwriting, and my early efforts didn’t fit any genre or show any other artist’s influence. They were what they were: my insides turned out. (I had not yet begun my later collaboration with a dead composer – my grandfather – whereupon my songs took a turn towards the musical theater genre.) However, if there was any singer-songwriter I worshipped, it was Harry Nilsson. He suited me right down to the ground: his antic humor, his insouciance, his entwining of musical styles both quaint and contemporary, his impeccable taste in arrangements, brilliantly layered background vocals and, above all, his gliding golden voice.

RCA was Nilsson’s longtime label. One late winter afternoon, on a visit from LA, Harry popped into the office of his product manager, who showed him my strange video. I happened to be next door with my product manager when I was told Harry wanted to meet me. 

The following dawn, I remembered nothing. I had probably been out of body. Clearly my body had gone ahead and celebrated without me. My idol was standing by the hotel room window, smoking, and gazing at me sort of wistfully. He said he’d recently become enchanted with a young waitress from Ireland, who had gone back home but would rejoin him in LA in the spring. Now that he’d met me, he was feeling confused. I told him he didn’t actually have a problem, because I was going home, too. (My clothes smelled like the floor of a bar.)

I didn’t expect to see Harry again, assuming that I had behaved badly as I often did during blackouts, which were common enough for me in those days of wine and bloody noses. But it was a shame to have no memories to savor of my one night with Nilsson. I hadn’t even grabbed a hotel matchbook to prove to myself I’d been there. The RCA product managers knew more about what happened than I did. They were the ones to tell Harry, a few months later, that I was in LA. They gave him my number.

At 5 a.m., I was sleeping soundly on a bare mattress, the one piece of furniture in my West Hollywood sublet except for a phone, which rang. In the blue light of this second dawn, I arrived at Harry’s La Cienega apartment, where I found him on the phone in hoarse conversation with his attorney. Flopped in an armchair was John Lennon. Harry was discussing the text of an apology to be delivered to someone, while John peered at him myopically because his glasses had been lost in a fistfight. Harry instructed his lawyer to send flowers with the apology, and hung up. It seems I had come on the scene right after Harry and John were thrown out of the Troubadour for brawling with the Smothers Brothers.

John repaired to the guest bedroom. Harry downed a quart of milk and a couple of repulsive hoagies from the 7/11, and then fell asleep with his foot hanging off the bed and jiggling, still animated by all the cocaine and brandy he had ingested earlier. (“Ole Coke-foot,” I used to call him.) He favored Brandy Alexanders because the cream lined his stomach; thus the alcohol wasn’t absorbed, allowing him to drink more double Brandy Alexanders until the dawn like this one. 

Harry had introduced John to this noxious drink, which was also Ringo’s favorite. Now, Harry could hold his mud. No matter how much he drank, he seemed fine, mind sharp and words unslurred. Ever primed with witty banter and guile, he was a world class motormouth. He was also, as I was soon to learn, a raging alcoholic. And he was spurring John to commit brandy-kiri alongside him. John, for his part, was terrible at booze. Two drinks, and the darkness fell; you never knew what demon was going to ride out of the murk.

By now their escapades had hit the press. RCA was understandably anxious. John was supposed to produce Harry’s new album Pussy Cats, with recording sessions to begin in two weeks.  The word came down from the higher-ups: get out of LA, spend a weekend at a spa in Palm Springs, and dry out.

Women were allowed on board. RCA must have thought we would act as nannies. This was not my strong suit. May Pang, on the other hand, didn’t mind being a minder. She was John’s new love, in the wake of his split with Yoko. She and I packed our weekend bags, jumped into our hot pants, and rode down to Palm Springs with our patients.

I will not go into detail about that long and disorderly weekend. Suffice it to say, the boys took “dry out” to mean: no alcohol. Nothing wet. That left drugs. And Palm Springs was dead boring. The sun was too bright. The shades got pulled down; calls to locate a dealer went out. Some white powder was scored. Perhaps it was coke. If so, it had been stepped on so many times, trampled you might say, that it was mostly suitable for babies with diaper rash. Whatever it was, Harry became more than usually loquacious. Hoarse to begin with, he talked, and talked, and talked until he was down to a rasp. A trip to the hospital ensued. He was handed some antibiotics, and told very sternly not to smoke and to go on a complete voice rest for the remainder of the weekend.

Photo copyright May Pang. Horseplay the hospital lawn in Palm Springs. Harry (f.g.) had just returned from the doctor. I took this pic with May's camera. The lens cap is in John's mouth. When we got too rowdy the hospital turned the sprinklers on, soaking us.

Harry tried the pantomime thing for about four hours before he caved. Alcohol was restored to the menu. Swallowing the pills with cognac, he lit up a cigarette, and proceeded to talk. With a vengeance. He wouldn’t shut up. The rasp now sounded like he was gargling blood. Yet he talked on.

And so I was present to witness the tragedy of Harry Nilsson willfully murdering that beautiful voice I loved so much. It never really came back.

I was back in New York when he and John arrived to finish Pussy Cats. I was horrified to hear Harry’s vocals. There was no trace of the swooping heaven-kissed tenor he was born with. He sounded like he was being flayed alive. The album was one big drugged-out gangfuck of the ears.

Meanwhile I was pulling away, for my own preservation. I lost my nerve, recognizing I had neither the stamina nor the capacity to keep up with his tireless, unending binge. Harry scared me. His self-destruction made my own attempts look feeble.

Besides, I had my second album to record, and Harry’s waitress was flying in shortly. What should he do? Harry asked. He was in love with two women. I told him he didn’t actually have a problem, because I was going home.

I knew if I stayed with him, I was going to die. Instead, he died – twenty years later, in 1994. By then I was happily married (as was he, to his waitress) with one child (to his six). He hadn’t been sober for most of those years, so the news of his death from heart failure, while sad, came as no surprise to me.

I hadn’t loved him, though I’d tried because he was a genius and I am partial to them. Nonetheless I was still and forever in love with his music. I mourned Nilsson’s death by playing his poignant “Turn On Your Radio”:

            I don’t know where I’m goin’
            Now that I am gone
            I hope the wind that’s blowin’
            Helps me carry on
            Turn on your radio, baby
            Baby listen to my song
            Turn on your night light baby
            Baby I’m gone

I’d said goodbye to him many years before, and fate had not arranged for us to run into each other since. This time I knew for certain I’d never see him again.

But I did.

(To be continued.)

Saturday, September 17, 2016

At Home With a Ghost - 54

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

Me in 1994

The year: 1994. Location: bed. Propped up on pillows, eyes closed, I was in a trance, and I was bored. Meditation seemed like flying coach from New York to Guam with an hour’s layover in Tahiti: that is, a few minutes of halcyon mindlessness hardly seemed worth all the effort of getting there.

Letting go of mind shouldn’t have been so hard for me. I blamed my mantra. I’ll tell it to you right now. I figure this is no longer verboten, since I’m not using it anymore. It was “hirim.” It was pronounced “ee-reem,” with the ‘h’ silent and a wet guttural ‘r’, on account of being purchased in France.

Now, a mantra is supposed to be a shred of nonsense that has no associations whatever, to lure the mind away from its usual perch which is lording it over consciousness. However, every time I’d begin inwardly reciting my mantra, the frog accent sucked my mind into a whirl of associations: remembering that one winter in Paris, 1990; the room where for six sessions I met with my French TM instructor, who was uninspiring, mechanical, and smug. The bastard made me give up smoking grass before he would sell me my mantra; what's more, the mantra was wildly overpriced, given the exchange rate…

…And so on. So much for quieting the mind. To get through the snarled traffic caused by my French mantra, I wound up having to break up the mayhem by head-butting my mind out of the way.

One cool thing happened while meditating in my instructor’s presence. In trance, I was transported to a beautiful pavilion, where his guru appeared and huffed on my third eye. Afterwards, I assumed that my 20-minute twice-a-day meditation practice would feature more thrills of this kind.

Sadly, no. Twice a day I flew to Guam with no movies on board.

Still, I needed those layovers, however brief, in Tahiti. With my thoughts finally quelled, I would suddenly be lifted up, as if by elevator, to a plane where my head filled up with sunlight. But the moment was too brief. Too soon, thoughts returned and blocked the light; I would feel the elevator descending. My Self clamped back on and started whining that mindfulness is actually kind of boring.

One day, just as I began my descent, I asked no one in particular: is that all? Where’s the cool stuff? Where’s the guru?

To my surprise, I got an answer. Not a voice, but rather a thought, instantly imbedded in my mind, and translated into words for my benefit. Weirdly, it was in French.

Vous avez oublié de composer le ‘un’.

You forgot to dial the 1.

I burst out laughing, breaking trance. Eyes open, I knew what the guru meant. I’d been reminded to connect with the One. Not God. The ‘1’ was Unity, the Flux to which all souls and spirits belong, the Everything, the Great What-Have-You. That’s where the cool stuff is.

It’s not somewhere else. No elevator necessary. We’re already there. It’s like waking up in your bedroom, which your sleep momentarily erased. You’ve traveled in your dreams, and forgotten where you came from, but upon waking you realize that all along you’ve been lying in your bed.

Henceforth I would begin my sessions by dialing the One, to wake up in the Flux. The idea was to breathe, since breath itself is fluctuation. Different from reflexive breathing, I breathed with purpose, putting my full consciousness into it, as if to say Here I Am. Awareness dawned, and I’d wake in the true Here. Our real home, empty of furniture, blazing with blank light.

It also became my habit, on my way back from that place, to pause for a lesson from my guru, to ask questions and receive answers. Clearly the teacher was not some Indian guy. It was I, with my little third eye. I had held these answers all along, was born with them, and was now learning how to access them, as if a locked drawer had suddenly become unsprung. I suppose this source is what’s called our Higher Self by some. In any case, it was inseparable from my being.  

For example, in one session I asked how to handle my persistent digestive problems. In answer, I was shown a bar of soap on a shelf. I was told to wash every part of my body with it – inside as well as outside. I reached it down from the shelf. The wrapper said Appomattox Soap. This I took to mean: in order to end the Civil War in my body, I would have to surrender to the Union (the ‘1’ again), and maintain peace by faithful physical and spiritual cleansing.

But the lesson wasn’t over. I felt suddenly invaded by a heavy paralysis. I couldn’t move a limb. And then some presence took hold and lifted me free, to observe my body from above. The splendor was dazzling. It shimmered like a palace, richly appointed, to be lovingly maintained. I had never truly felt the beauty of our mortal housing, and when I was gently placed back inside my body, I was able to revel in it for the first time. I emerged from this meditation with tears flowing down my face.

Another time, the message I got was: “Food dies.” I wrote the interpretation in my journal: “To fill up the stomach is to feed life that dies. To fill up with Spirit is to feed the life that lives.”

The most memorable of all my lessons came when I was shown a park scene. A light wash of green and blue suggested trees and sky. Vague calliope music played in the distance; amusement rides, horses and ponies, chattering people were sketched in pencil, like a rough draft for an animation sequence. That’s what this life is, I was told, a beguiling sketch that will lead, in the end, to a majestic finished creation – or Creation itself.

After I emerged from this meditation, I went for a walk in Central Park. The carousel music was playing, passersby chattered, love was everywhere, and my nostrils filled with the aroma of flowers that weren’t there.

The last experience I’ll relate here was also on the subject of creation. In one of my trances, it was depicted as a luminous shower, as if a ladle of pure radiance had overturned. I was shown that to be a creator oneself, a single step sufficed: simply step under the shower and be a part of it. Stand still and receive. True creation is co-creation.

While I noted this lesson in my journal. I understood it, but not how to apply it. That would come later, with the death of Harry Nilsson.

(To be continued.)

Monday, February 15, 2016

At Home With a Ghost - 53

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

I felt his fingers on my shoulder, tapping. “Sarah.”

I stubbornly kept my eyes shut. He was interrupting my fun. I was busy behind my eyelids. Honestly, having jet fuel pour out of every cell in your body as you shoot into the stratosphere, where you make crazy loop-de-loops with supersonic ease, almost but not quite exploding from the immensity of this freedom, this weightless flight, with your cape flapping behind you, is not the moment when you want to be nudged.

Sarah!” He tapped me again.

I opened my eyes. His head lay on the pillow beside me. He was looking at me and I didn’t know who the hell he was, and besides, his eyes were swimming all over his face like trapped tadpoles. I glanced down at our two bodies on the bed, and they were running away too.

We were in his dorm room on a yellow spring afternoon at Sarah Lawrence, where I double-majored in music and promiscuity. My bedmate had transferred from Princeton, one of a handful of male students being inducted experimentally to this single-slut institution of higher learning. The fox entered the henhouse; the hens made mincemeat of the fox. Some of my schoolmates openly resented my bogarting the best guy, forcing them to queue up for the inferior ones.

He and I had whiled away many such afternoons, prone on sex-scented sheets and taking mescaline. But on this day, when I opened my eyes, I had no knowledge of him, or, for that matter, my own identity. I had no knowledge, period. I was reduced to a state of pure instinct. And my instinct told me that things were going hideously wrong.

He moved his lips with difficulty, as if speaking underwater: “This isn’t mescaline we took. It’s acid.”

I stared at him uncomprehendingly. A second ago, I was flying around the heavens. Now I was dying.

“That fucking shithead sold me acid instead of mescaline,” he continued. “This is going to take a while longer than we planned. You’ll have to cut your harmony class.”

Not one word he spoke had any meaning. What was acid? His tone was serious. So “acid” had to be something…fearful. Terrifying. It explained why the walls slithered, the ceiling bulged, and everything, everything was rushing away so fast, beyond the reach of understanding: my flesh and bones, my name and address, my mind and its contents. Anything of significance no longer signified anything. Which left nothing.

I felt whirled away in a mad current. Panic took hold and I began to gulp for air. With nothing left to define me, I hurtled headlong toward the falls, to extinction.

I could hear his low voice speaking, its mild cadence, and while the words had no meaning they seemed meant to calm me. The tide carrying me away slowed. Fear gave way just enough so I could breathe.  

Then breath itself fascinated me. This simple in and out, rise and fall, accept and deliver, buoyed me out of my body, and I emerged in a place of simplicity. For what could be simpler? than to be.

I have sometimes been, in my life, so happy I couldn’t stand it. This, though, was happiness I could stand because there was no I anymore to contain it.

The ineffable, without words to describe, can only be met with laughter. I laughed a long time, until my ribs began to ache. I’d forgotten about ribs: those hard hoops for restraining breath and laughter and heart from leaping completely free. I felt them now, and little by little I shrank back into my body. Back too came the walls, the ceiling, the bed and the sophomore beside me, whatshisname.

Later we remembered to put on clothes before leaving the room. The rest of the eight-hour trip we spent in a hammock, exclaiming with that coming-off-acid smug certainty, wow, I’m one with the universe, I can see through my hand. We admired fluorescent flashes in the shrubbery, and then I yammered on about Ken Kesey until my companion told me to shut up.

I only took LSD a few more times, but in minor dosage. Short commutes. The last time was a bare four years later, on the opening weekend of my documentary Marjoe in New York. I stood with a hippie friend across the street from the theater, watching the line form for the 7:00 show, and when the “Sold Out” sign went up we both cheered and split a tab of acid. Eventually I wound up alone in my hotel room, flat on my back, watching the ceiling bulge with colors, and I thought, this has gotten old. Bored, I took a Quaalude and slept through the rest of the trip.

I never sought to repeat the bliss of my first. That afternoon was too precious to me, the time my soul blotted out everything including my self. It became my touchstone: whenever I got too knotted up in my earthly so-called sufferings, I would remember the simplicity place. I’d recall that the answer in the back of the book is a blank page.

I figured I’d get back there permanently when, at the end, death would replay the moment, like a long-lost reel discovered in attic dust. As it turned out, I didn’t have to wait that long. It came again, without drugs, in middle age, on another bed. I’d encountered ghosts and poltergeists; now the time had come for Spirit.

(To be continued.)


Tuesday, March 17, 2015

At Home With a Ghost - 52

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

Spielberg had a one-line idea for a movie: a mother, who’s struggling with loneliness after her kids’ departure for college, suspects there is a ghost in her house. To flesh out his story, Steven brainstormed with production heads Walter Parkes and Laurie MacDonald for several days. Nina faxed me a transcript of the meetings, so I could get a sense of what they wanted.

It was a fun read. There was clearly a lot of excitement in the room as these three movie machers spitballed ideas. (I’d love to quote some of the dialogue, but this was 1995, when fax machines used that quaint roller paper where the printed text vanishes like disappearing ink after a few years.) Notably, they wanted to defy horror movie convention by designing a ghost that was not threatening or murderous or tragic. Instead, this ghost used to be an ordinary housewife in life, who continued to go about her chores after her death. Her manifestations would take the form of, for example, the house filling up with the smell of cinnamon cookies baking, even though there was nothing in the oven. Bathwater taps turning on by themselves. Rugs rolling up. (Trash taken out?)

Further, no one believes the mother character when she insists there’s a ghost haunting the place; even her husband thinks she’s merely suffering from empty-nest syndrome. Nevertheless her relationship with the ghost deepens, as the dead housewife reveals herself to the living mother more and more openly. The two women touch across the dimensional divide, and help each other to let go and move on.

Steven was intent on making the ghost glimpses as realistic as possible. This would not be Poltergeist but rather Close Encounters of the Third Kind, to convey the awe and wonder of contact with the other side. He believed in ghosts himself but had never had any personal experiences with them, though he’d always wanted to. It was time to bring in a writer to convey that right balance of sweet and spooky onto the page.

I told Nina it wasn’t a stretch for me, because I’d had plenty of experience with ghosts. “Fantastic,” she said. “I’m going to run down the hall right now and tell Steven! He’ll be so jealous.” I was hired immediately and flew out to LA to meet everybody. In the single confab I had with Steven and the DreamWorks, they kept saying what they loved most about the story was it was so unexpectedly small and intimate.

This was October. Steven wondered if I could turn out a script in two months, because if it was good he’d like to shoot the film in February. I’d been warned by an A-list screenwriter friend that Spielberg always had a gazillion projects in development and ended by filming only one or two (and he typically didn’t release the other scripts to any buyers because if he wasn’t going to direct those films he didn’t want anyone else to, either). Still, even though eight weeks was going to be a marathon, I wanted to come through for him.

Only one thing mitigated my enthusiasm. I worried that if I began writing about ghosts I would attract them back into my life, which I’d established as a no-fly zone since my marriage.  Then I’d be back in the supernatural soup, which was a lot to manage when you have responsibilities like a husband and a child and a deadline. So I sent a silent request via the ether: any spirits intending to trespass were not welcome, unless they had ideas to contribute for plot and dialogue.

For two months I was a nervous wreck, holed up in my office, deaf to my family; my daughter left claw marks on the locked door. I chain-devoured family-size bags of Werthers butterscotch, courting both cavities and gas. And though I stuck to the story concept as explained by Steven, Laurie and Walter, a thought kept nagging at me: This doesn’t feel like a Steven Spielberg movie. This was no theme park ride. It was gently spooky, a lovely lyrical entente unfolding between a needy human and a housebound ghost. Would he really abandon his usual MO to make a very small film, a miniature instead of a mega-epic?

I turned the script in on time. Initially it was greeted with congratulations and a complimentary fax from Steven (which I would also love to quote, but that paper too turned blank in a year). Then we all got on the phone together for his notes. His big problem was that the film felt kind of…small. He missed the climbing graph of fear and tension. The ghost should be more frightening. (Like, a scary housewife.)

I got to work on revisions, throwing in some gaspy moments, like an unseen hand suddenly roiling the bathwater as the mother lies soaking in the tub, a fire spontaneously erupting, a door opening onto thin air, and the reveal of a horrific trauma in the ghost’s past.  But it still didn’t feel like a Spielberg movie.

In the end, it wasn’t. I waited for notes so I could complete the polish on the script. The word came back that they didn’t know what they wanted. I had done exactly what they thought they wanted. It turned out they wanted the wrong thing. Laurie and Walter wondered if the basic story could be sexier. But sexy wasn’t Steven’s thing, and he moved on to Jurassic Park. I had to move on as well. I was juggling two other script jobs, and a film I’d written and would direct (The Hairy Bird aka All I Wanna Do) had gotten its financing. I asked DreamWorks for, and received, an honorable discharge.

(Years later, I ran into Steven at the sixth grade graduation of our kids from the Ethical Culture School. “By the way,” he grinned, “we’re making your movie.” I phoned my agent: was this true? – “Oh, he’s just saying that. I haven’t heard anything.” Three years after that, What Lies Beneath was released, with Robert Zemeckis directing; it had been rewritten as a sexy ghost story with a scary husband.)

Back to 1996: my breakneck writing marathon was over. As I re-entered the atmosphere and splashed down in my life, my nerves were a tangled mess. For one thing, I badly needed to withdraw from Werthers. And I had no idea how to create calm for myself, in the moments when I wasn’t working or mothering. Unless…

Suddenly I remembered that I had a mantra. My family and I had lived in Paris back in 1990 while making the film Impromptu, when I decided to take up meditation. I received private lessons at the local Transcendental Meditation center. I loathed my teacher, who delivered his instruction robotically (in French of course) with a sneer and eyes half-closed; they flew open whenever I interrupted with a question, as if he had received an unpleasant jolt. I felt he was much better suited to be a waiter than a spiritual teacher. But I was committed to six lessons before he would give me my mantra.

Finally the day came, and I arrived at his office for the induction ceremony, bearing the symbolic offerings of some oranges and a white silk cloth. We were seated on the rug together half-lotus style (an excruciating position for my knees), when he leaned over and whispered two syllables in my ear. I am pledged never to tell anyone my mantra, but I will say that it has a guttural French r in it.

He announced we would end the ceremony by meditating together. I closed my eyes, feeling impatient to leave and be rid of him, and started silently chanting my new and personalized mantra. And then, suddenly, my thoughts fell away and I found myself seated on the wide wooden floor of an open-air temple. Hanging from the columns, gossamer yellow drapes wavered in the breeze. A cobra came toward me, sliding over the floorboards in silken undulations and pausing in front of me. Though I was terrified of snakes, this one’s presence seemed perfectly natural and in the order of things. As the cobra lifted its head, a man’s face appeared inches away from mine, blotting out the snake: a long-haired, bearded Indian man; he smiled, opened his mouth, and blew lightly between my eyes.

And with that, the temple disappeared. I was back on the rug with my waiter-teacher, who was looking at me inquiringly. “Alors,” he said, “was that agreeable for you?” I told him what had happened, describing the Indian man and how he huffed on my “third eye.” My teacher’s expression changed to something human like surprise. He got up, fetched a framed photo from a desk drawer, and wordlessly showed it to me. “That’s the man,” I said in amazement. The longhaired gentle-faced Indian man in the photo was my teacher’s guru.

At home, twenty minutes twice a day, I began my meditation practice with great optimism. I felt singled out for specialness by a guru I’d never met, and consequently I expected mucho magical mystery tours whenever I went into trance. Nothing much happened, however. My two daily sessions dwindled to one after a while, and then I stopped altogether, for the same reason so many do: after a while, calm is boring.

But then came Spielberg and the “Untitled Ghost Story” saga: now, in my crazed state, I needed nothingness like nothing else. I dusted off my French mantra, cranked my knees into half a lotus, closed my eyes…. And so began the greatest spiritual adventure of my life.

Unless you count my first acid trip.

(To be continued.)


Monday, September 1, 2014

At Home With a Ghost - 51

Dad with his parents: hoisting Carrie as Marshall looks on. Note the cigarette in her hand: small wonder she had a "graveyard cough."

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

My long-departed grandfather wasn’t done spilling the beans through this Montreal medium. Across the dimensional divide, Monsieur Guy Isabel’s spirit guide continued to compel his hand as he covered another page with automatic writing, in a script that appeared both elegant and awkward.

I waited, still recovering from the news that my grandmother Carrie, through all thirty-five years of her marriage, conducted an affair with her doctor, and with Grandpa’s full knowledge.

I knew all about Dr. Taylor from my father’s memoir, and from the letters Carrie wrote to her family from France during World War I.

At the height of the war, Dr. Kenneth Taylor, a New York pathologist, volunteered his services to an American military hospital in Paris. While there, he developed a successful treatment for gas gangrene, for which he later received the Légion d’Honneur. In 1915 he returned to New York. The following year he was summoned back to Paris to take over as hospital chief. He boarded an ocean liner with his wife Ann and a volunteer nurse named Caroline Hatch.

The three had become friendly in New York. I surmise that Ken Taylor encouraged Carrie Hatch to come along and serve in the war effort. Maybe their attraction had already begun. He put her to work in the wards, where she found her calling as angel to the wounded. He found her placements at other hospitals; he made house visits when she was ill, which was often. (It wouldn’t have aroused any suspicion when she had a man in her room at her pension, if that man was her doctor.)

“What I should do without him I cannot imagine,” she wrote her sister.

She didn’t have to do without Dr. Taylor, as it turned out. Along came Lieutenant Marshall Kernochan with a marriage proposal, along with his assurance that, if she said yes, he wouldn’t “pluck one feather out of that cherished independence” of hers. She would be free to do whatever she wanted.

Even adultery?

Carrie put off accepting Grandpa’s proposal. She sailed back to New York without giving him an answer; she needed more time, “to try to put certain things out of my mind.” Likely she believed her affair with Ken Taylor was hopeless. Continuing as the backdoor woman of a married man was an unthinkable demotion; she was too proud for that. But what if she too was married? Marshall’s wealth and social position guaranteed her respectability and, if he kept his promise, the freedom to pursue her heart.

So she said yes to all that. Her return passage and visa were arranged by Ken Taylor. The Taylors were witnesses at Carrie and Marshall’s wedding. At the end of the war, the four reassembled their weird ménage in New York. Marshall and Carrie Kernochan had a son named Jack (my dad). Ken and Ann Taylor had a daughter. Carrie instated Ken as the family physician; if little Jackie Kernochan had a sniffle, Dr. Taylor would instantly appear. Marshall bought a studio for Carrie where she could enjoy some privacy; the apartment was practically next door to the Taylors. The four got together sometimes for evening musicales or theater outings, but more often Marshall was off at the Freemasons or his mens’ clubs, and Carrie and Ken were off doing…something or other together.

When he got older Dad became aware that something in this picture wasn’t right. He started teasing his mother about it. Whenever she announced she was going to sunny Florida (for her lungs), with the good doctor in attendance (for her lungs), Dad would start rotating his pelvis and singing a current pop song, “Hear that savage serenade/ Down there in the Everglade/ Goes boom-a-diddy booma-diddy booma-diddy-boom.” Later he took to referring to Dr. Taylor simply as “Booma-Diddy.”

“She would be embarrassed,” he wrote, “blushing and giggling uncomfortably, but in no way daunted.” Finally Dad asked his father “point-blank, how he felt about my mother’s absences and her obvious inclinations toward the doctor. His response was: ‘When I look around and see some of the women my friends have married, I consider myself a lucky man.’”

Grandpa was probably referring to Mrs. Booma-Diddy.

When Marshall first met the Taylors in Paris, he wrote Carrie that “Mrs. T seemed a bit difficult. Dr. T scarcely opened his head.”  Their act never changed. My dad observed that whenever the T’s came a-calling on the K’s, Ann Taylor invariably showered contempt on her husband, and she didn’t seem to care who was witnessing. While she loudly berated him, the doctor shrank a few sizes and said nothing. She was also rumored to be having an affair with a Columbia professor. Carrie’s studio increasingly became Dr. Taylor’s home away from home as he escaped his ballbusting wife’s company.

And what better companion for Carrie than a doctor? “She was both morbidly obsessed with illness and prone to it,” my father wrote. From his earliest years Dad found that a surefire way to get his mother to pay any attention to him at all was to fake alarming symptoms, for she loved nothing better than to play nurse. The woman herself was a dartboard for afflictions. A partial list of her chronic ailments would include: hay fever, bronchitis, pneumonia, brucellosis, back pain and agonizing periods. Even the World War I courtship letters between Carrie and Marshall often jokingly referred to her “g.y.c.,” which stood for “graveyard cough.”

With the dear doctor, she had someone who took her every ache seriously, and was only too willing to talk symptoms and treatments. (Though she might have lived longer if he had made her stop smoking.) He was hopeless company when it came to her other interests, like music and painting; Dr. Taylor was “unmusical to his fingertips, and as a painter he would have flunked a Rorschach test.” They did have bird watching in common; they embarked on their hikes alone and often in Martha’s Vineyard, where the Taylors were frequent guests. When not hunting herons, Carrie and her medicine man could always repair to her little house on the bluff, far from the madding wife and the unfazed husband.

Dad wondered, “Was there a sexual relation between my mother and the doctor? I will never know. Perhaps at this point in life she was entitled to yield to inclinations that made her one and only life happy and bearable.”

If I believed the ghostwritten messages conveyed by this clairvoyant medium by Skype, my Dad’s question was now answered. And there was more to come. I watched Monsieur Isabel onscreen as he put down his pencil. He then read aloud what the spirits had just written through his hand: “Marshall says he tolerated her affair because he wasn’t always there, and he felt guilty about the life he led and he wanted Carrie to be happy…”

“He says ‘I myself saw other people. I too had sexual affairs, though not with women.’”

Guy Isabel was the third medium to mention my grandfather was gay, which I had suspected for some time. As my Skype session wore on, I learned that Marshall had loved a fellow Freemason, someone from Europe whom he must have met in his travels. The Masonic temple, a brotherhood shrouded in secrecy, provided the perfect camouflage for their affair. Sixty years after his death, Marshall wrote his confession on the medium’s page: “I discovered my soul could join with another soul in love, even if that soul was in the body of a man.”

This, then, was the essence of my grandparents’ marriage. Carrie put up with his homosexuality, and he looked away from her adultery.

When I consider this bizarre minuet between the T’s and K’s, I think of a photo I found among Marshall’s effects. The occasion shown is the annual Tuxedo Park costume ball. We inherited a trunk full of disguises from this fabled affair, which Grandpa adored dressing for, ordering custom-made outfits for himself and Carrie every year. We kids used to try on the stuff, swimming in silks and velvet brocade: there was a Revolutionary War soldier getup, a toreador, a sheik, a harem girl, Queen of the Night. There was also an oversize white satin smock with huge buttons of real mink. No one knew what that was about until I found this photo. The men are clad as lovelorn Pierrots in fools’ hats and satin nightshirts. On bended knee, they court their wives dressed as alluring Columbines. 

Tuxedo Park costume ball, or, go figure the rich

Once we get done laughing our asses off at this spectacle, we can open our ears and hear the chamber orchestra playing; we can see the dancers change partners. We can ponder, how many aristos in that ballroom were conducting secret affairs, like Marshall and Carrie? Meanwhile they keep step with high society’s twirl; keep up appearances in custom disguises.
I had no more questions for Monsieur Isabel or any medium after that. The last pieces of the puzzle, thought to be lost, had been retrieved and pressed into place.

You may well wonder how any sane person could accept as truth the ad-libs of clairvoyants and mediums (I consulted five in all). But I am not sane. I’m something worse: a fiction writer. I’d inherited an unfinished history, with massive plot holes and cloudy characters. I needed to understand my grandfather, who I believe has been with me in spirit form since his death. Frustrated, I wanted to fix the story and restore its flow, and I really didn’t care where the missing answers came from, so long as loose ends got tied and one could put the book down with a sigh of satisfaction.

And so my tale is done.

My attachment to spirits, and Grandpa’s ghost in particular, was not continuous throughout my life. When I got married in 1985, I gave up ghosts. It was time to dial it down the wack and get back to my day job: to be a presentable wife and mother, a person of sound reasoning – though if someone prodded me I might tell a ghost story or two. For ten years I concentrated on putting hot meals on the table and achieving success as a screenwriter.

One day I got a call from Nina Jacobson, who had just gone to work at a brand new studio called DreamWorks. I’d done a script for her before, when she was a development executive at Universal; the script had been about a satanic college fraternity, so she knew I was fluent in paranormal. Would I, she asked, be interested in writing a script for Steven Spielberg, one of DreamWorks’ three partners? The project was then being referred to as “Untitled Ghost Story.”

(To be continued.)

Thursday, August 7, 2014

At Home With a Ghost - 50

Carrie in her teens, not yet heartbroken

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

It nagged at me, that missing piece. My grandmother Carrie had a secret: one that prevented her from marrying my grandfather Marshall, or anyone for that matter. On the face of it, Carrie had steadfastly avoided marriage out of principle, reluctant to give up her independence to any man. That was her public position, at any rate. This would have been an unusual stance in those pre-feminist days, and if an unmarried woman of 32 trumpeted about her freedom, people could assume she was just masking her humiliation at being a spinster.

Grandpa wasn’t deterred, promising, “I won’t pluck one feather out of that cherished independence of yours.” Still she eluded him. She returned to New York, writing him that she needed to go home to find out “how completely I’ve been able to put certain things out of my mind.” What things?

And then, suddenly and unaccountably, she accepted his proposal. What made her change her tune? According to the medium I’d first visited, she knew or suspected that Marshall covertly preferred men. 

There was no one left alive to ask. The memoir about his parents that Dad left when he died furnished no clue. Like me, my father remained perplexed about the nature of their marriage because, even though they seemed quite fond of each other, they spent so much time apart. Dad never figured it out, and he wasn’t the type to consult a clairvoyant medium. The idea of contacting his mother’s spirit, so that she could fill in the blanks, was laughable – and frightening as well, since it implied an afterlife that he was dead certain didn’t exist.

He must have done a double take after he died. I imagine it’s particularly hard for atheists to adapt to eternity when they wake up in its echoing expanse. Imagine, too, their fearful confusion: what am I here for? A picnic, or perdition? On the other hand, they must feel pretty happy that they’d been dead wrong about that death-is-the-end thing. I know Dad was grateful for his new and refreshed life as a spirit; he enjoyed getting on with the business of evolving. He told me so, through another medium.

After that first encounter with a clairvoyant, I’d sampled three others, curious to see if there was any discrepancy in the spirit messages they transmitted. The results were astounding in two out of three séances, which took place over the telephone. To contact my grandmother Carrie, I decided to go back to the very first medium I’d seen in Massachusetts, but this time we’d be conducting our session by phone.

My belief that Carrie carried a secret wasn’t based on much, mainly a few passing lines I’d come across in a letter she wrote to her sister from war-torn France in 1917: “No more married lovers for me. At least that’s what I say now. You never know.” Grandpa was a confirmed bachelor, who had avoided marriage for even longer than she. And while he declared his love ardently, nowhere in her wartime letters did she tell him, or anyone else she wrote to, that she loved Marshall in return. So who were the “married lovers”?

My phone session with Medium #1 went well at first. Carrie showed up front and center. The medium correctly described her and identified the cause of her death (Carrie underwent a double mastectomy but in the end succumbed to lung cancer). More details followed that I knew to be true. The time came to pose my question: “Why did you avoid marriage for so long?”

The medium transmitted the question, listened to the response, and relayed my grandmother’s answer. Carrie had had her heart broken in her twenties, and consequently lost her appetite for love. The man had been married – or perhaps he had to leave Carrie to marry someone else? There was a child. Perhaps he’d gotten the other woman pregnant. Or perhaps Carrie had been pregnant, and had to give the child up because her lover was married. Perhaps…perhaps?

I realized, with discomfort, that the medium had strayed into conjecture, was vamping instead of reporting what my grandmother’s spirit said. I had every reason to expect unequivocal answers from the dead: of course Carrie knew what she did and why – it was her life, after all. Disappointed, I concluded the séance early.

I put the mystery aside for a year; my film work  had increased, and I had a new album to release. 

Then, last month, I happened to hear of a French-Canadian medium, Guy Isabel,  who conveyed messages from the departed through automatic writing. I was already familiar with this form of channeling, since my maternal grandfather had practiced it for a time (I’ve written about his experiences in Part 4 and Part 47 of this memoir). I thought “ghost-writing” would be an interesting approach, another way to have that conversation with my elusive grandmother. 

Monsieur Isabel and I exchanged emails and arranged a date for a Skype session. A day before our appointment, he sent me the following note:

“While I was doing an automatic writing session yesterday, a spirit name Marshall came to me and gave that message:  

“Marshall says, ‘I learn to evolve doing lots of activities based on love and the impact of developing love in the relationship between minds. This prepares us to choose our next incarnations. From these teachings, the mind learns the importance of raising his consciousness through the practice of love with his neighbor. The human experience is an experience that marks the soul deeply and allows it to grow significantly in higher levels of vibration. Tell her she is a beautiful soul and we love her work.’”

I always welcome compliments on my work. I totally preen – on the inside of course. And I don’t much care where they come from. (Except once, when I cared very much. A magazine asked former presidential candidate and Southern Baptist anti-Semite Reverend Pat Robertson what his favorite movies were. My film Impromptu was on his list. This was ironic, considering my documentary Marjoe was an exposé of evangelical preachers.) Nevertheless, the email made me suspicious of Isabel. The text was boilerplate New Age cant, even if I agreed with every word. And the name Marshall is easily obtained by reading this very blog.

My suspicions eased as our session commenced. Monsieur Isabel seemed a very sweet, openhearted man, and my charlatan alarm (cf. Marjoe, above) didn’t go off. Each time I posed a question to a spirit, I was able to watch Isabel onscreen as he paused to write the answer in lovely looping script, his hand never leaving the page but rather connecting words as if they came in a continuous undifferentiated stream. I asked him to send me the actual pages. The script was difficult to read: 
(Hint: the first word is Marshall and the rest is in French)
Answers were relayed through Isabel’s various spirit guides, whose names sounded like medications. What they said was sometimes awkwardly phrased, as if translated from another language by a less than proficient translator. At one point I asked Isabel if the messages came to his hand in French or English, in case he was the one translating what he’d written. Both, he said; he had no control over the choice. Since my French is fairly good, I asked him to read me answers in whatever language appeared on the page. Even after he complied, the spirits’ diction remained that of a foreigner (they do, in a sense, come from afar).

As our session began, right away Grandpa barrelled in, always first to arrive at a party. I decided to direct my question to him instead of Carrie. I asked, “Did you know her secret?”

Yes, he knew her secrets. They concerned a person whom Carrie had met, an affair that continued over the course of their marriage. Marshall was speaking in French now (he was fluent in his lifetime).  Cette liaison s'est déroulée avec un médecin.”

A doctor!?

Suddenly I knew exactly who that was.

I remember nothing of my grandmother, who died when I was five. But I have a distinct memory of visiting her Martha’s Vineyard cottage. Not the big summer house in Edgartown, which she shared with husband, son, guests and servants. Marshall bought the little cottage for her as a refuge where she could be alone to paint and muse. It was perched on a bluff in Katama, overlooking the Atlantic, and everything about it was fascinatingly tiny. Grandma Carrie was a wee woman. The rooms were close and cozy, and, because I was a child, I loved the diminutive slipcovered furniture: Goldilocks-size, the chairs were just right for a child’s bottom.

But now I thought, she wasn’t always alone. And I wondered how the estimable Dr. Taylor squeezed his ass into one of those armchairs.

(To be continued.)

Saturday, June 22, 2013

At Home With a Ghost - 49

Grandpa in the kiddie kavalry, 1889

(Those who are coming to this serialized story for the first time, you can read the complete opus to date by clicking here.)

The clairvoyant medium seemed a little disconcerted by my blunt question.

In truth, I was a little ashamed to ask. It was merely reductive stereotyping that made me wonder if Grandpa had been gay. I added up what I knew: he’d lived contentedly with his mother until he was 38, and only married when she pressured him to. He loved opera, concerts, theater, photography. He loved clothes. He wrote songs. And then there were all those private men’s clubs….

It had taken Grandpa a scant nine months to woo and wed Carrie. Most of those months they were only in contact through letters. (Both had gone to France to serve in the war effort, but were separated by their jobs or by her persistent ill health.) In total, they saw each other face-to-face for a few weeks before Carrie accepted him. How well did she really know this wealthy bachelor?

Once the newlyweds returned to the U.S., leaving the heady excitement of their wartime adventures behind, my grandfather led his bride over the threshold of his manse in Tuxedo Park. In fact he delivered her into boredom. She soon found herself alone, except for an army of servants. Every day he would leave for some men-only powwow – golf, tennis, poker; booze and badinage – at one of the several clubs to which he belonged; or at highly secretive meetings with the Freemasons, where he was already a lodge master.

Carrie was expected to fill her time socializing with the other wives, but she didn’t care so much for female company. (In her youth she’d enrolled in Bryn Mawr College and left after one day, complaining, “There were too many women.”) After giving excruciating birth to my father, Carrie demanded that their future winters be spent in New York City, where she could consort with “lively minds” to make up for her husband’s constant clubbing.

The son grew up wondering about his father’s thing for male cliques. Dad wrote in his memoir, “It seemed as though he urgently needed constant reassurance of his own masculinity provided by the company of men and their ongoing acceptance of him as one of them.”

Why did he doubt his masculinity? Unless he knew that, secretly, he came up short. I arrived once again at my suspicion, which had seemed unanswerable – until here, now, when I had his spirit in the room and a medium paid to translate.

So I asked him: “Were you gay?” And held my breath.

“Yes,” came the answer.

The medium paused, apparently listening to him. “But he didn’t act on it. There were flirtations, but he kept it way underground. There was no possibility of going further, except maybe when he went abroad. France, Italy, Germany…” Yes, those were all the countries where I knew he traveled. Paris, Rome, Berlin, libertine-friendly places where he would have felt freer to leave the closet.

The medium added, “His wife came to know about it. She decided to keep quiet.”

So Carrie knew.

Another puzzle piece plopped into place. This one would have answered one of my father’s most pressing questions.

All his life Dad pondered why, growing up in his parents’ house, there was such an obsessive concern to “make a man of me, as they put it. This theme, harped on for years, often dictated their attitude toward me in childhood.” Carrie seemed especially paranoid that their son would become a mama’s boy. After all, her husband had grown up inseparable from his own mother, and look at the result. His feminine side became overnourished, producing the girlie man she’d gone and married.

And so Carrie guarded my father from a like fate. “To be sure I would not be ‘coddled’ or tied to my mother’s apron strings or dominated by her, my mother purposely absented herself when I came home from school. She was always on guard to avoid being demonstrative. Hugging, kissing, or other expressions of warmth were rare.” Even his father joined the project to butch up the son. “In those days I was called ‘Jackie,’ but if I wept or whined my father would call me ‘Jacqueline.’”  

To drive the point further, his parents enrolled Jackie-Jacqueline in the Knickerbocker Greys, a paramilitary cadre of boy soldiers that drilled and paraded up and down Park Avenue to their parents’ satisfaction.  (Grandpa himself had belonged to the Greys when he was a lad. Always fond of dress-up, he must have loved the uniform, though Dad always thought he looked more like a bellhop with a musket.)

Next came the boys’ boarding school (St. Mark’s), where Jackie’s lessons in manhood entered realms of boy-on-boy cruelty whose memory embittered and disgusted him for the rest of his days.

Still, in the end, Carrie got what she wanted: a man’s man for a son, and her husband’s wretched gay gene stomped into dust.

Meanwhile Grandpa kept to his ways, pursuing fraternal camaraderie anywhere he could find it. In the masonic lodges were men he could call Brother. (A fervent follower, he eventually became Most Wise Master, Grand Marshall, Sovereign of the Red Cross of Constantine Chapter and New York Court of Jesters.) (Really.)

Grandpa in full Masonic gear

The last males-only club he was headed to, when he died, was the dockside Edgartown Reading Room in Martha’s Vineyard. A club he helped found and bankroll, this was no literary gathering. The only book in the building was the telephone directory. But the bartender could reach down any bottle you wanted from the shelf. It wasn’t easy to become a member. You had to be wealthy, and you had to get with the program: booze and badinage and secrets. Their climactic annual rite was a nude clambake.

The Edgartown Reading Room annual moonfest

Even now, on the summer nights when I walk by the Reading Room, I will hear the good old rich guys within, eruptions of laughter booming over the water: masculinity certified and embalmed.

He had long ago given up composing songs. This was the music he’d wanted to hear, the night he died.

“Do you have any regrets?” I asked Grandpa’s ghost.

The medium reported, “He says he didn’t put into his marriage what he could have. He was ambivalent about it. He harmed her emotionally by his lack of attention.”

Suddenly I wanted to hear Carrie’s side. But our session was up, and I had a train to catch.

My grandmother’s mysteries would come clear another time – and through another medium.

(To be continued.)

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