Because hands can do everything but lie.

I don’t always know what to do with my hands.

You might find that ironic for an actor, even more so for an educator. But, it’s still the truth.

Bang, bang, you shot me down.

It wasn’t anything I ever really noticed until a few years ago. I began to realize that my Nana was fascinated by the frequency with which I used my hands to animate my conversation. She would look less at me and more at my gesturing.

Over time, I became so concerned with how I might physcially be telling my story that I began to grow flustered at the dinner table. I didn’t know how not to use my hands.

As is my way and tendency, I began to obsess over excessive hand usage soon after.

It was a quiet thing, this staring that Nana did (does; I still struggle with it) to my hands, and, as you might have guessed, it has now become a habit of my own: to notice how often people use their hands to exemplify their points, even when it’s not necessary.

Like, the man at the four-way stop, yesterday, who flipped me off.  (Although I suppose one could argue that that is necessary. But, I would have to counter with, No, it isn’t. No one ever gets the Four-Way Stop Rule, right, anymore. And on top of that, it’s actually a five-way stop. That’s right, a five-way stop).

For Nana, gentlemen didn’t need to use their hands for support. Their word was strong enough. I think she sees it as a sign of weakness, perhaps, that succeeding generations need more and more stimuli to keep them engaged. That’s a point to consider, indeed, but for some of us, it’s just a natural extension of our physical selves to use our appendages for emphasis.

She’s a picture of Victorian essence, though, and that I respect.

Even if her essence has made me somewhat self-conscious, and thus, critical.

We often hold others accountable for what we fail at ourselves, don’t we? I can’t not think less of someone who does that very thing I do, that I don’t like in myself. At least, not initially.

All this and over hands. Silly, huh?

But, not a new idea.  I’m sure there are other Nanas the world over who carry such social concerns, tucked right beneath the handkerchief kept so tightly under their wristwatch bands or heirloom bracelets.

The problem for me, ultimately, is in finding something else for them to do, when I talk, if gesturing is a weakness in men. It’s like I’ve given my hands permission to think for themselves, and that, believe you me, gets me in more trouble than I can safely admit to here.

It doesn’t have to be a significant form of trouble either (or even have to involve anyone else). What it does, though, is divide my thinking, and sometimes with less than desirable results. Today, I went home, for example, to eat lunch. I stood in the kitchen scraping out the last of that delicious olive tapenade that Amanda made for the party last night, with a cut-up tomato, fresh from the garden, and I decided to do something I rarely do.

This is the lost shaker of salt.

I decided to add salt. (If you’re going to add salt, though, it is perfectly acceptable to do so with either a slice of tomato or a piece of watermelon).

I reached, without thinking, for the white salt shaker that was sitting on top of the microwave, with a fleeting realization that that, of all the available counter space in the kitchen, was an odd place to put the white salt shaker. All the same, I brought it over to the sink and raising it above my delectable slice of tomato, I shook some salt onto it.

No salt came out.

I shook it again. Still, nothing.

I was getting more and more irritated when I realized two very important things: 1) We don’t have a white salt shaker, and 2) it was, instead, the plastic insert that goes in the bottom of the food processor, which had been washed and was sitting in the drain beside the sink, drying.

Stupid hands. Just making assumptions, and in my own kitchen. (Of course, why the insert was sitting on top of the microwave – oh, never mind). 

The fools. My hands.

Maybe I’m just too dramatic. The length of a finger, the crack of a knuckle, the ability to point, to wave, to applaud. I guess I can’t just look at a hand as a hand, I mean, not to see it as a hand…I look at it and I see the ability to know God a little closer (not just through prayer, but through creation).

I can build worlds with these hands using nothing but twenty-six letters. And judging by the sore spot on my thumb, I can also attempt to construct a 8×8 foot flat, down at the theater.

Aren’t hands often the first to show signs of age? If so, then, well, why not? Building worlds take a lot out of a person. Mine, for instance, are growing chafed and calloused. I look at them, right this second, for instance, as they skate over the keyboard, and I’m a little sad but mostly impressed. What these hands have done. The good and the bad…it’s still impressive. (Take a look at your own, and you’ll see your own history…read it and memorize it).

Because hands can do everything but lie.

After my first class, this morning, I sat in the lounge and flipped through the rest of the textbook. We’re about to begin our abbreviated, quick-speed run-through of fiction this week. I wasn’t sure, still not, of which stories I want to focus on.  Welty, O’Connor, Faulkner, Wright, those are the usuals, but maybe I could find something new?

I merely turned one page, at that point, and there, on that page, lay a story I’d not only never read, but never heard of: “Hands” by Sherwood Anderson. Can you beat that?

So, I thought, well, hands aren’t perhaps a normal topic of conversation or blogging, unless you eat dinner at Nana’s on Sundays – let’s see what it’s about. Let’s read this story.

I was immediately struck by this unique and at first glance, blandly written piece of short fiction. Not the least of which was it’s not-so-subtle homosexual overtones, especially for something written in the 1910s. Admittedly, I’m not that familiar with Anderson’s thematic oeuvre but I was compelled by his fictional design in this particular story.

How sad the life of Wing Biddlebaum was. How misunderstood; note: due to an unfortunate incident, allegedly, with younger boys at the school where he used to teach, he was forced out of town and had to change his name.

Here, read this:

Wing Biddlebaum talked much with his hands. The slender expressive fingers, forever active, forever striving to conceal themselves in his pockets or behind his back, came forth and became the piston rods of his machinery of expression.
     The story of Wing Biddlebaum is a story of hands. Their restless activity, like unto the beating of the wings of an imprisoned bird, had given him his name. Some obscure poet of the town had thought of it. The hands alarmed their owner. He wanted to keep them hidden away and looked with amazement at the quiet inexpressive hands of other men who worked beside him in the fields, or passed, driving sleepy teams on country roads.

His hands “alarmed their owner.” That’s bizarre and captivating to me. After you read the story, you’ll see why for yourself. He hides behind his hands and tries to manipulate them into the working class definition of “manual” labor of the other men in this town. He succeeds too well, you might say.

This will make sense after you read the story.

Another captivation: several times throughout the story, Anderson keeps stalling, suggesting that the “truth” of this story can’t be told except by a poet. A poet that Anderson refers to several times throughout the piece. And not just any poet, an obscure one.

To me, this is the beauty of the contrast.

Obscurity has no use for hands. A poet doesn’t either. All he needs is “an eye.” The difference is that truth exists in two forms: exposed for the eye to see, or through sleight of hand. The deceit of Wing’s lavish use of his hands is nothing short of a subconscious effort to trick the eye. Watch his hands and you never see the desperation that is in his face. The worry that drains him of “place” and “home.”

I mean for godsakes, re-read the first paragraph, again. He lives in a dilapadating house on the edge of a ravine.  He’s headed for a meltdown, and one that’s been boiling for the last twenty years.

Talk about a slow burn.

Sigh.

I just hope that’s not what Nana sees when she looks at me.

Guess I better scratch gloves off my Christmas list.

Part Two: Aunt Lola

When and if I remember a dream it’s because it has some potent element to it; I’d like to think I made that point, clearly enough, in yesterday’s blog. And certainly, I would think so with the Billie Holiday dream; and those precious and upsetting few that have come true…all of which I’ve shared with you.

God is in there somewhere.

But the potency, when it’s there, is one that is, that must be, for me, necessarily Fascinating and Disturbing in its minutiae, as it invades my mind, my lobes, with its obsessive and small details; isn’t that where God is, according to van der Rohe? I make no bones about how my dreams are often too vivid and verbal, to the point of Hamletian madness; I wouldn’t be a bit surprised if I lose what little sense I have left by Christmas.  (But, I would imagine, we all have dreams like that…and that we’ll all be mad by Christmas.  That seems to be the universal deadline).

So, true to fashion, here’s the Aunt Lola dream, one that has bothered me and moved me in myserious ways, since I dreamed it a couple of years ago. It has a residue that I can’t shake from off my soul.

I dreamed that I was running late for class, for Kay’s class, (this was toward the end of my graduate degree). I got to campus and there taped on the door was a scripted note telling me that she’d changed locations at the last minute, to an abandoned nursing home, one that I’d driven by many times, and wondered why it still stood. It was such an eyesore.

It seems as if she’d made this decision because of some research-oriented assignment – I vaguely could recall, I thought, her mentioning this, the research assignment, in a class the week before but in that announcement we were going to meet at the zoo in Jackson; no one, though, was upset either by the fact that we hadn’t gone to the zoo, as promised, nor by the fact that we were sitting on the floor in the large dining hall of this abandoned nursing home. Of course, being an Educator, we’re always striving to enhance the informational exchange rate, so to speak, so nothing really surprises us: zoos, nursing homes, a cow with a glass window in her one of her stomachs (this can be actually and physically viewed and touched at the Wise Center, the famous Vet School at Mississippi State University – look it up).  

Anyway, I’m late, and there’s the obligatory long hall that I’m desperately running down, (is that Archetypal? It seems so collectively Jungian) and there’s Kay, sitting crosslegged in the doorway of the dining hall. She’s motioning for me to hurry. We’re in the process of giving presentations today, and I’m next, she mouths. Did I forget?

I did, but I’m almost to the room when I realize that I’ve got to go the bathroom, immediately, and I mouth this back, in response, to Kay, who grins (in real life, I often have to go to the bathroom; I say it’s because I have a tipped kidney), but she’s also silently adamant that I not miss my turn to go. She appreciates order and routine.

I won’t miss my turn, I assure her. I just need a minute or two.

I come out of the bathroom and am on my way to the “class”room, to give my presentation, when a voice to my right calls my name. I turn and it’s my Aunt Lola, who passed away several years ago, at the age of 98. She’s the same age, now, standing there looking at me, but without any complications, and most notably, without that crook in her back that bent her toward the grave before the rest of her was ready. I’d heard her say that many times before.

She looks radiant, youthful, active, if you will. She’s wearing a blue nightgown and matching robe, and again, I can’t quite describe it, but she’s beautiful, a light. There’s a corona, edging beyond her, that I am afraid to enter, to approach, and yet, I’m delighted that this fear has put me at a crossroads, a carrefour, especially in the presence of a woman I loved so deeply, as a child. This must be what happens to the dead; they become a tendril to their corporeal life. I’m sure they do that just as an effort to put us at ease, but slightly. I’m not saying I believe in apparitions anymore than I’m saying I don’t.

I cry, “How can you be here? How can you be alive?”

I’m ecstatic that she is, and I want everyone to know that God must be real, how else could she have returned; its’s so natural a thing to believe, blinded as I am by her softness. I mean, there’s no other way she could be talking to me if not for the fact that all my life the faith I’ve held in Christ and God is actual. She’s proof, right?

So, I rush down the hall to the class because I want them to know the truth, this truth.

You've been here before, right?

I’ve rarely been this fervent in real life, about anything, but all of a sudden, in my dream, this is what I must tell everyone. I must bring them into the hall and show them Aunt Lola. She will prove all things. I know this, you understand, in the dream. But Aunt Lola refuses.

Kay looks at me, upset, that I’d interrupt her class at so crucial a time.

“We’re doing presentations, for chrissake, Kris,” she says.

Aunt Lola pulls me back into the hall of this abandoned nursing home, and looks up into my face. I’m now racked with guilt. I admit to her how sorry I was that I didn’t ‘do right by her dying.’ I was indifferent; I was immature; I was afraid to see her stilled, against that plush casket. I tried looking at her in the casket, at Nowell’s, but I couldn’t. I was too overwhelmed; I’d never before been flooded with such simple reasons to not want someone to die: her homemade meatloaf, those beds and beds of calla lillies, helping her pick up pecans from the front yard.

It didn’t make sense. How amazingly, these simple things made her great in my eyes. I should have looked at her in the casket, I know, I should have. She overlooks this weakness, “Forget that. I have to tell you something.”

I can hardly look at her, she’s so bright, and she says, “You almost died the other night.”

This is the residue part. It is a chilling thing to have someone tell you that you almost died.

“I’ve come to tell you that it’s ok; it’s not time yet. Soon, but not yet. You need to live, first.”

“I am living,” I argue. I’m upset now, not just that I almost died, but also because she’d waste such time on so old a cliche. I’m hysterical at this point. She remains gentle; the dead, in my dreams, are always so gentle. She won’t tell me what I almost died from, what almost was responsible for taking my life; instead, she implies that I am not appreciating the normal, the mundane, and the ordinary.

So, now, of course, I intend to be suspicious of everything plain.

This shoe closet is messy. Sadly, it's also mine.

She tells me that’s ridiculous, guessing at my suspicion. She implies that God has put in these plain things a necessary, if to me, rudimentary, exuberance that surpasses human understanding. She is telling me to slow down, to take notice, and to take a breath.

And so that morning, when I woke up, I let my initial disappointment ebb, and found that I was quite happy, content. I crawled out of bed, and that’s when I rediscovered, and rather accidentally, a lost pair of favorite shoes.

Would that work as something simple? I felt that it would.

And that meant the whole world to me.