Having Fun While Me

Big house, great sound, respectful audience, super popcorn, and MOVIES! (photo from Playback magazine)

[4-minute read]

Sunday night was Double Date night – no second couple, in this case, but just my bride and I bopping from one Ottawa cultural heartthrob to another. After a light and early supper at home, we were off to the Mighty ByTowne cinema (yes, kids, it’s back!) for a mouth-watering bite of history. Then we hopped on our pony and bustled to the western edge of downtown for a Writers Festival event (yup, pardners, they’re back, too, in Three Entire Dimensions!).

This was my fifth or sixth Return to the ByTowne since its new ownership re-opened that grand old videodrome in the fall. All my fears of it having been blandified (or turned into condos, he shuddered) have been dispelled. Many of the familiar staff faces are back, the popcorn hasn’t been meddled with, and the slate of movies remains rich, diverse, international and occasionally quirky. The Power of the Dog with Cumberbatch and Dunst, C’mon C’mon with Joaquin Phoenix and Gaby Hoffmann, are both still bouncing around my brain days or weeks later. Kurt Vonnegut: Unstuck in Time, strangely current even all these years after his prime and then his passing, had me sobbing repeatedly. (Vonnegut does this to me regularly, but I was still surprised at how hard this loving documentary tribute punched me. Hi ho.)

We were there Sunday for Julia. For anybody over, say, 40, who has been around American television shows, filling in the last name might be easy as omelettes. Julia Child was a towering presence in popular culture, especially from the 1960s through to the ‘90s – and not just because she was 6’3”. Her monumental first book, Mastering the Art of French Cooking, and her subsequent presence as the “French chef” on the Public Broadcasting System (PBS) made her an icon. Julia tells her life story in lavish detail, and with stunning re-creations of many of her most famed recipes, and shows not only her fame and cultural impact – yes, her show was parodied on Saturday Night Live! — but also “how important she was, is, will be”, as one of her admirers puts it.

On set in 1978: Julia Child, TV star, at 66. She was far from finished. (Wikipedia)

She was the first person to make cooking on television attractive, in spite of her plainness and age. I had thought Meryl Streep’s voice for her in Julie and Julia (2009, another Child-focused film I hadn’t expected to greatly enjoy, StreepLove aside) was a bit clumsy and overdone — until I saw Julia, that is. I hadn’t connected her to the rise of real attention to good eating in America, but she profoundly influenced young chefs and helped spawn “foodie” culture. The silly, materialistic extremes of that movement don’t undo the value of eating good food, lovingly prepared, which was Child’s essential oeuvre. I also wouldn’t have thought of her as a feminist icon, for example, and in hindsight I’d have been wrong. Julia involves some time travel, painting a vivid (black and white) portrait of the life of one unusual woman in the first half of the 20th century and her flowering, in her mid-50s, as an ambassador of French cuisine. The film is funny, informative and absolutely delicious to look at; the gorgeously framed contemporary food-prep sequences are big-screen-worthy, even for a culinary primitive like me.

We raced from the ByTowne, skipping the end credits (gasp!), to Christchurch (Anglican) Cathedral, the most common recent venue for the live events of the Ottawa International Writers Festival. We went from one local arts treasure to another, and from an American TV icon to a pair of Canadian ones. Linden McIntyre is a Nova Scotian journalist (most famously hosting The Fifth Estate, and then famously retiring to save one younger person’s job at the beloved and beleaguered “Mother Corp”, the Canadian Broadcasting Corporation (CBC). Also a novelist (he won the Giller Prize for The Bishop’s Man), he was our laconic and charming interviewer for a younger Maritime star, Newfoundland’s comedic genius Rick Mercer. Once the “angry young man” of Canadian comedy, He has written something longer (and mildly less angry) than the 90-second “rants” and other satiric slices that have made him beloved across the country. Talking to Canadians is a memoir that my wife and I will read with delight.

You might have heard the echoes of his (in)famous “Talking to Americans” segments in that book title. Among the many irreverent stories he told

Striding down Canuck streets, ranting.
(from the Globe and Mail)

at Christchurch Cathedral was of the genesis of that thoroughly Canadian project; it is something of a national sport to enjoy Americans being foolish. (Thinking they can beat us at hockey, f’r’instance.) While Mercer was filming in Washington, D.C., a passing American public servant was savvy enough to determine that the “Canadian Broadcasting Corporation” printed on an equipment case meant that Mercer must be from..…(wait for it)…..“Canada!” It was a gift to a young satirist there on other business: Guv Guy was completely gullible about the absurd name Mercer gave to Canada’s Prime Minister (“Benmergui”, which true CBC-lovers chuckle at as a reference to former radio host Ralph), but was quite prepared to explain the concept of “alphabetical order” on camera when Mercer pretended, to this pompous ignoramus, that Canadians weren’t familiar with this clever new method of organization. From his sudden starburst on the national scene, to his membership in the This Hour Has 22 Minutes¹ crew, to The Rick Mercer Report to his current return to stand-up comedy and whatever comes next, we all got to be spectators as MacIntyre prodded Mercer into story after story, and even his closing punchline “I’ve been glad to be that prick.” (Had to be there, folks!)

Jay and Diana went out on a date, and an icon-fest broke out. And that’s why Ottawa isn’t “the town that fun forgot”! ²

¹ Such a CBC-centric occasion, in so many ways. True dévotées will remember not only the show, but its sly naming echoing an ultra-serious 1960s CBC TV news magazine called This Hour Has Seven Days. 
² As I am wont to do, I refer here to the acerbic and ever-living Allan Fotheringham, who described Canada’s capital in this unfair and fairly accurate way, depending on your definition of fun.

Kurt Vonnegut (on what to pitch, and some things to keep)

I’m still listening, Kurt. Still moved. (Photo from Wikipedia.)

When I write about something I’ve learned from the Baha’i system of knowledge and practice – or rather, in trying to understand it better – it sometimes appears at the Baha’i Teachings website. I also go there for small doses of perspective, wisdom and hope, and find them. David Langness is one of my favourite writers at BT, not least because on what Canucks call Remembrance Day, he posted a piece called “Veterans’ Day: Let’s Call It Armistice Day Again”. Although short, it was weighty, since Langness is himself a veteran of what the Vietnamese people don’t call the Vietnam War. Yes, and he also led off with a passage from Kurt Vonnegut’s 1973 Breakfast of Champions. Vonnegut is a hero to me.

I just re-read KV’s preface to that famous American novel. My vision blurred and I commenced breathing like a beat-up old machine. (This often happens when I read Vonnegut. He murders me, when I’m apparently supposed to laughing like a loon at his satire. ) He calls Breakfast a 50th-birthday present to himself, a mid-life attempt “to clear my head of all the junk in there….I think I am trying to make my head as empty as it was when I was born onto this damaged planet….I suspect that this is something most white Americans, and non-white Americans who imitate white Americans, should do…” (Sheesh. 1973!)

David Langness, in his argument for re-naming Veterans’ Day, goes on to cite his reasons: the growth of jingoism, hero-worship and militarism associated with November 11 in his country. “Perversely, we’ve turned the day into a recruiting tool for further war instead of a celebration of peace.” It’s well worth a read. But thanks to Mr. Langness, I’m pleasantly obsessing today over the incredible Kurt Vonnegut (how I miss him!) and these closing words of his preface to Breakfast of Champions. He explains why Armistice Day – from the Latin for “a cessation of arms” – is a holy concept that he will hang on to:


“So this book is a sidewalk strewn with junk, trash which I throw over my shoulders as I travel in time back to November eleventh, nineteen hundred and twenty-two.

“I will come to a time in my backwards trip when November eleventh, accidentally my birthday, was a sacred day called Armistice Day. When I was a boy … all the people of all the nations which had fought in the First World War were silent during the eleventh minute of the eleventh hour of Armistice Day, which was the eleventh day of the eleventh month. It was during that minute in nineteen hundred and eighteen, that millions upon millions of human beings stopped butchering one another. I have talked to old men who were on battlefields during that minute. They have told me in one way or another that the sudden silence was the Voice of God. So we still have among us some men who can remember when God spoke clearly to mankind.

“Armistice Day has become Veterans’ Day. Armistice Day was sacred. Veterans’ Day is not.

“So I will throw Veterans’ Day over my shoulder. Armistice Day I will keep. I don’t want to throw away any sacred things.

“What else is sacred? Oh, Romeo and Juliet, for instance.

“And all music is.”

More of a Skirmish. Fray Rejoined.

[2-minute read]

Easy title, tough challenge. Here we go.

I’m back.

There are endless things to write about, and an infinite number of slimy ways to wriggle away from keyboard, from pen, from the front lines. (Yes, I’ve been meditating on courage, and how life’s demands so often exceed personal supply. I can’t want that.) Courage. My word.¹ When I think of writers I heart the best – and it’s KV² I come back to ever and anon – it’s sometimes ‘how did they do that?’ (technically, commitment-wise) but mostly it’s ‘how did they do  that?’. That is, what allows or compels an artist to be so bloody BRAVE, or reckless, or whatever it takes to tell the whole truth?

¹ Courage: Gord Downie‘s word. (And Hugh McLennan’s.) Go, Gordon.
² That’s Kurt Vonnegut. Hi ho.

I’ve re-read The War of Art. I’ve had a big birthday. I’ve said ‘no’ to a major time commitment to an activity I love well beyond reason and balance. I’m summoning resolve. I plan to act like a professional. I’m ready to write again and more and still and daily. The title speaks of my renewal of effort as “more of a skirmish”, in the wider lens of the social insignificance of whatever I do, and because I lean hard into self-deprecation and other forms of egocentrism. But it’s big news in my little corner; this is my Olympics. This is struggle. Here is my war – one of ‘em, anyway. That will mean Way More Words from the Howdy Home Office, and some of them will appear here.

Hurray for here!

And if you’re a subscriber, bully for you, and thanks for reading. (And if you’re just stumbling into this, there’s a whole lot of earlier stuff on sport and men, culture and books, faith and fandom, learning and remembering, edges and ledges and the odd bit of ecstasy.)

September FIRST. What’s It To You?

Top o’ the evenin’, friends. (All slip and slope from here.)

Here were the many bits of sparkle and significance of an apparently random Tuesday in the life of a meaning-masher (me), trying to understand where one slightly eccentric but on the whole rather typical guy (also me) was coming from.

(NOTE: I am aware of autumnal equinoxes and Officially Falls, but summer was over and I heard the school bells ring. September First is a Time of Change.)

Once a teacher, always one, and always for me has the first of September been a wistful but galvanizing passage. The anxiety dreams were, and are still, in full swing. (Can I still do this? Even if I don’t actually do it anymore? Luckily, performance worries are easily transferrable.) It was, once again, time to get ready.

September 1 marked Cycle 39, Phase IV, Action Plan 13(b) of my eternal Get Organized! campaign. Those shelves? Downstairs. Clear that desk. These books go here and there. (Some may even be released into the wild.) Several priorities are in the shop for rearrangement. So much STUFF. And what do I do with cassette tapes of radio recordings and The Talking Heads? A coil-bound series of musty journals? My files from a teaching career that shows hopeful signs of being defunct? Major conundrums. Serious biz, no doubt, but I waded in and felt enlivened and resolute (with a hot ‘n’ sour side of rueful fatalism).

Speaking of fate and rue: 9-1 was mumblety-seven years and a few odd days past a coulda shoulda wouldabin wedding anniversary, would’ve been a quietly joyful reconnaissance of things past if the lights hadn’t gone out that dreadful year. Instead: “Yup. That happened. We started off so well, I thought.”

On the other hand,

Continue Reading >>

Gunter Grass (on joining the SS, 1944)

Gunter Grass died Monday. I remember my 1970s awe at an older friend, Kenny, who buried his beard and mighty forehead in John Barth and Grass and other literary lions I’d never heard of. Hundreds of heart throbs later, I still haven’t read The Tin Drum, or even seen the movie, but in my usual time-impaired way I expect I will be soon. Because the man has died, and the man wrote fearlessly of the business of being German during and after that nasty Nazi business. He took considerable heat for revealing, in 2006, after a lifetime of calling Germans to account and to remember, that he himself had been drafted into the SS as a 17-year-old. Too late! they cried. Hypocrite!

I beg to differ, and so do most commentators who are better-informed than I am. So does anyone, I would think, who has actually read his account. It is deceptively laconic, describing almost whimsically the conditions of war-time Germany and of an ignorant, artistic lad who sought to escape poverty and insignificance. I got to read this New Yorker article by Mr. Grass thanks to smart Tweeters: (Sorry, I’m unable to hyperlink right now.) It’s an entrancing read, and I highly recommend it.

That he survived was a fluke, several flukes in succession. RIP, Gunther Grass.

That he survived was a fluke, several flukes in succession. RIP, Gunther Grass.

Here is a short piece of his description, riding the train to accept his call-up to some branch of the military (he’d wanted to serve on submarines), which turned out to be an extremely disorganized and depleted branch of the Schutzstaffel (SS), the elite “protective squadrons” of the Nazi armed forces. The British, the Americans, and the Russians were closing in:

Continue Reading >>

Kurt Vonnegut (on the usefulness of the arts)

It’s Vonnegut Week, I guess. I’m re-reading Fates Worse Than Death, which has suddenly jumped the queue ahead of Bill McKibben’s Enough (readable, surprisingly funny for a grim assessment of our more is better! culture) and Seth Davis’s Wooden: A Coach’s Life (which I want to plough through uninterrupted). Given that Wooden and Vonnegut may be my top two American heroes — and hey, come to think, McKibben’s not a lot lower on that list — it’s not shocking that fiction is (again) on a lower shelf, not to mention the stack of magazines that arrived in our Ottawa mailbox during our last year in China. Woe is my reading list. (Reading lust.)

The following bit of KV is not from FWTD, or from Palm Sunday, its predecessor as a Vonnegut “autobiographical collage”. It’s from a more recent book called A Man Without a Country: A Memoir Of Life In George W Bush’s America — again, non-fiction, but even stronger in its searingly angry, despairing and somehow still spookily funny condemnation of the ruling elites in the U.S.A. (Canada currently has little, other than good luck, to boast about in this regard. Don’t get smug, Canucks.) This was among the happier quotes, one that gets cited again and again, and mostly out of context. I still like it out of context, and I print it below in this way because it contains one of KV’s goofy autograph/self-portraits.

A little context: the passage actually begins, ““If you want to really hurt your parents, and you don’t have the nerve to be gay, the least you can do is…” Adding that opening — which most quotation-hounds subtract, and now I’m among them — gives back the true bite of this shard of Vonnegutian advice.

Continue Reading >>

Kurt Vonnegut (an oath on freedom, good news for Dad)

This story, the story of this letter, has moved me over and over as if I was reading it for the first time. I might as well have been. Lately it has been on my mind constantly. This is likely because I have recently entertained the possibility that I will never haunt a classroom again, at least not for money. After years in between blackboards and bored kids, mainly in southern Ontario high schools but for five recent campaigns in two northeastern Chinese universities, I may be done with all that. Hence, the Kurt Vonnegut ear-worm, my writing hero‘s blazing honesty on repeat. (How did you do it, Kurt? How did you do it? I’m reading his non-fiction again, trying to find clues, but I mainly get beaten about the ears by the impossibility of doing what he did.)

Humane, funny, tortured, conscious, brave.

Humane, funny, tortured, conscious, brave.

Yes. So here’s the set-up. KV’s story is in the second of his “autobiographical collages”, Fates Worse Than Death. (The first was Palm Sunday, if you’re keeping score.) (Desert island books, both. I can read these things again and again.) He’s writing about his saintly “unicorn” of a father, and the stoic resilience he showed as an artist enduring commercial vulgarity and disdain, and as a man surviving the madness of his wife. Kurt Junior ends this whimsically sad tribute to a man living in the wrong era by telling of his own early days as a writer, maybe one born at the right time — if being a World War II infantryman is good timing.

At age 27, Vonnegut was paying bills by writing advertising copy for General Electric by day, but his eccentric short stories were — amazing as this seems in hindsight — being accepted by the mass-market general-interest magazines of the day. The last word on his beauty-loving Daddy was this:

Continue Reading >>

I’ll Miss You, KV. Hail and Farewell.

My bride has been well-prepared. She woke me up Thursday with a sympathetic face.

“Sorry to say, but I think it’s a national day of mourning.”

“Oh, my. John Wooden?” I’d heard that my 96-year-old coaching hero, the great UCLA basketball guru, had been in hospital, but had left it reasonably well. She shook her head. So it must be, and was, another American icon, the shine from another facet of my mind. “Kurt Vonnegut, then?” She nodded.

[The New York Times obituary is a good one. You may also be interested in a piece I wrote on him just over a year ago. You’ll find it here.)

If I had a stronger journalistic streak in me, I’d have had this written long ago, though I did make a start in February of ’06. I hadn’t heard of the fall he’d had a few weeks ago and of his quick decline, but I’ve been waiting for this news for at least a decade. Finally. Vonnegut was 84. He’d been referring to himself as “an old fart with his Pall Malls” and hacking with every laugh for at least 20 years. He introduced his last novel, 1997’s Timequake, with a muttering prologue about being too old for this sort of thing:

“I had recently turned seventy-three. My mother made it to fifty-two, my father to seventy-two….Johannes Brahms quit composing symphonies when he was fifty-five. Enough! My architect father was sick and tired of architecture when he was fifty-five. Enough! American male novelists have done their best work by then. Enough! Fifty-five is a long time ago for me now. Have pity!”

He was tired. He was A Man Without a Country, his recent and now final non-fiction foray. He still supported social dissent, though he felt it did about as much good “as a banana cream pie”.

So how’s this for spooky? In his prologue to Timequake, Vonnegut writes of his recurrent fictional character, the utterly unknown but wildly prolific science-fiction writer Kilgore Trout. (Is such productivity hopeful or insane? Determined or desperate?) Vonnegut confesses what everybody knew anyway: that Trout is his alter ego. Trout is central to the novel, and KV makes a cameo appearance himself. Timequake sees the death of Trout, just as he gives a lonely but finally hopeful description of “the special place of Earthlings in the cosmic scheme of things”. Vonnegut mentions in the prologue that Trout dies at 84, just as he did himself last Wednesday. Hi ho. And this, too: my son Will knows what Vonnegut has meant to me. He phoned me Thursday night to tell me that Kurt had died, but I already knew. I had gorged myself on obituaries, like too many dips into the chocolate box: they were sweet, and I felt a little queasy. Will also told me that he had borrowed Timequake from the library, for no particular reason that he knew. But he was dialled-in, I’ll say that for him. He finished it Wednesday night. And so it goes.

You couldn’t read a better obituary for Vonnegut than Timequake, though it is a fair bit longer even than this post. Perhaps it will make you want to read more. Slaughterhouse Five is his signature novel. 1969. Some say KV is best read young, but I’ve read it then and nearer to now, and I’ll read it again if I’m allowed to get old. It will last. My favourite might be Slapstick, in which a dishevelled but dignified old man runs for President of a post-apocalyptic America. His winning campaign slogan? LONELY NO MORE! He has invented a new method of giving Americans the sense of family and connectedness that they had long lost. Though civilization has been destroyed, they have something to live for, because the President has given them extended families to count on as they scrounge a living from the ruins of empire. A little gentleness, a little compassion, a little hope amid the decay of a dying century. That was the best of Vonnegut, over and over. And I laughed out loud a couple of times when I first read it.

But I don’t know where Kurt found the courage. (“Ah, Koort, it’s so hard,” he once quoted a German writer and friend, telling him what he already knew too well.) I don’t know, still, precisely why the tears come so fiercely when I randomly read lines this morning from Timequake, or when I dive into his essays and memoirs (Palm Sunday, say, or Fates Worse Than Death.) I think it’s the courage. Vonnegut tried to kill himself in the 80s. (“I wanted out of here!”) In the 90s, I saw him give a public lecture on literature, which at one point veered into a brief digression on smoking. “Why do people tell us that smoking will kill us? Don’t they see that this is exactly the point?” The audience, eager to laugh with the comic writer, the Shakespearean clown, the “moralist with a whoopy-cushion” — Jay McInerney, New York Times, the best review of KV I’ve read — roared with too-ready laughter. Then, eerily, instantly, suddenly self-consciously, they realized what he’d said and veered into a collective groan. Sometimes it worked the other way ‘round, too, but for me, well, maybe I’m too serious. Most often, what he said and wrote hit me as too painfully TRUE, or just too full of pain, to laugh with. He was the comic genius that made me cry, still and again.

Some commentators list Hocus Pocus as among his greatest, joining Slaughterhouse Five and Cat’s Cradle, or even his first, Player Piano. So I’m reading it again. I bought it in 1991 in a bus station or corner store. I was mid-divorce and devastated. Cover blurbs from the Houston Post (“hilarious”), the San Diego Tribune (“it’s a scream!”) and Playboy (“a king-sized relief valve of comedy”) prepared me not at all for what I found to be a grindingly sad bleat of human despair, all the more so for its bleak jokes and whistling-past-the-graveyard satire. Wow. What was the matter with me?

I’ve picked it up again, now that he’s gone. Fellow novelists Joseph Heller (Catch 22) and John Irving (A Prayer for Owen Meany is my favourite) have the front-cover blurbs, and they loved it. It doesn’t grab me yet, not in the way other Vonnegut can send me reeling with sorrow and wonder and gratitude. But it’s him, all right: characters without much depth whose comments and circumstances knock the wind out of me; quirky plots that seem to wander through banality to absurdity then suddenly coalesce in a storm of meaningful incident; a grim look at humans as a collective that is (occasionally) redeemed by the heartbreaking goodness of individuals, in spite of all. (Cruel and creepy things done “for love” made Vonnegut wary; he once – or twice – wrote that “what the world really needs is a little less love, and a lot more human decency”.)

Wedded as I am to a hopeful and consoling vision of the world, the one proclaimed and elaborated in the Bahá’í community, I wonder at his dignity and dogged belief. He saw the 20th century not as a transition and a birth pang, as I do, but as the death of civilization. He’d been right at the fiery centre of World War II, what he called “humanity’s second failed attempt to commit suicide”. He felt that the planet’s immune system was set to purge itself of our species, yet he kept on urging us to sanity and compassion, no matter what. No matter what. Such courage, such grace, even though he was convinced that the game is over. I’m humbled by his example. I hope to continue all the more to be moved by it.

I’ll finish Hocus Pocus before long. I predict that I will shake my head and mutter, “How did he do that?” Where did he find the guts to make art, and even a little merriness, out of the shrapnel of dismay? God bless you, Mr. Vonnegut.

KV Junior, I Miss You Already and You Haven’t Quite Left

I happened to pick up my hero, Kurt Vonnegut, on CBC Radio’s The Current this morning. He’s 83, and his combination of profound pessimism and dogged goodness continues to knock me out. He’s so appalled by all the dastardly things humans have done that he figures it’s about time we were done.


“Over! We’ve had our chance; we screwed it up. The dinosaurs are finished and I suspect they did a lot less to screw up the planet than we have.” He imagines a great voice from “the bottom of the Grand Canyon or someplace, saying ‘It is finished. These beings did not like it here. They were not happy.’” He advocates a “War on Petroleum” instead of the failed war on drugs (or war on terrorism, bien sûr), and ridicules the wealthy and powerful for their residence in the 51st state (“the state of Denial”). In one of his characteristic KV Junior  flights of bitter fun, he offers that driving a car is perhaps the happiest thing humans have ever found to do, and now we’ll keep on driving blissfully until there’s no fossil fuel left and the system falls for those who follow us. “And what do I care? I’ll be dead! What does a CEO care, ‘just fuel up my jet today ‘cause I’m going to be dead anyway.’”

I saw Mr. Vonnegut give a public talk years ago in Stratford, Ontario. We were all so delighted to laugh with him, so ready to rumble. He got talking about smoking, his status as an “old fart with his Pall Malls”, and laughed at the warnings on packages. “These warnings are ridiculous. ’Smoking can kill you,’ they say. So what? That’s the whole point?” Strangest thing I ever heard in a theatre: the audience rolled instantly into a good laugh, and halfway through it collectively realized the nihilistic point he’d just made. In midstream, the laughter morphed into a sudden groan. “Ha, ha-ooohh.” When Anna Maria asked him today about his smoking, he said he was planning to sue Pall Mall. “Their packages promise they’re going to kill me. But I’ve been chain-smoking unfiltered Pall Malls since I was 12 and I’m still alive! They owe me.”

He was on the radio, of course, to comment on the war in Iraq, to compare it with his Second World War experience as an American soldier in Germany, and the imprisonment that became so well-known with his classic novel Slaughterhouse Five. He has sworn off novels, but has a new book out called A Man Without a Country. As pessimistic as he so volubly is, he continues to stand and to write and fight for what he has called the greatest thing we can have, “a little human decency”. This dogged use of his despair is terrifyingly good, painfully inspiring.

“You’re awfully pessimistic,” the interviewer says with some surprise.

“That’s what my wife says. Imagine what my marriage is like!”

“If you were to speak on behalf of your generation to young people today, what would your message be?” I’m sure Ms. Tremonti expected some warm and emphatic clichés, but I didn’t. Without fail, he breaks my heart with his sadness and courage.

“I apologize.” There was a pause. “And love one another, what the hell.”

“Thank you for talking to us, Kurt Vonnegut.”

“Go jump in the lake!” He chuckled and coughed. What a voice we will lose when he is gone.