Betsy Robinson

Perhaps my biggest ego quality is arrogance. I know it and it is hard to incinerate. I approached this morning's meditation feeling some despair. I asked for help—from a Siddha guru in spirit and the one who is presently alive.

It felt good to ask for help from what for me is a "higher power." (Side note: I just finished a thrilling thriller called Assassinations Anonymous by Rob Hart about a killer who is attending a 12-step program to stop killing. It is an ingenious way of dramatizing what it takes to change, and in 12-step programs, that requires requesting help from a higher power which can be anything you feel is bigger than you are. For me, that is my gurus.)

I felt their presence, but it wasn't helping much. Still my arrogance was spinning. Then Gordon Parks, the late photojournalist who I wrote about last February, came in in the form of a great light that pierced my heart so deeply I cried.

I felt small and contracted after that. When I tried to straighten, I felt nausea in my stomach. I guess I have to fully experience my arrogance as a process of letting it go.

Arrogance is a very different thing from determination. Gordon Parks lived his life with enormous determination but zero arrogance.

What a wonderful journal of thoughts and observations by Amy Tan, who also is a fabulous illustrator. The Backyard Bird Chronicles is beautifully written and published (thick paper, suitable for color plates) and $35, which is cheap for a book with this kind of art. (I read a library copy.)

Finally I get this birder thing. Amy Tan chronicles not only the "bird community" in her lush backyard, but her own mind chatter—and she is self-revealing in that way that I'm guessing most people will relate to: all of our judgments and worries, etc. The entries range from informative to funny to sad and even heart-breaking (it is a rough world in the wild, even in the well-tended world of backyard birdfeeders) to inventive (a wonderful "live commentary" of "The Windowsill Wars" for bird food). And I so admire her care for all living creatures—from the birds to the live mealworms she feeds them. She roots for life but has the ability or tolerance to watch death.

I live in NYC, right off Central Park, and for most of my decades here I had dogs (my last girl died a couple of years ago), so I was well acquainted with the human "bird community" in Central Park's woodland area, The Ramble. [If this sounds familiar, it is because the well-publicized horrific racist incident with one of the long-time birders, Christian Cooper, was in the north end of the area.] Historically, the birders are not fond of the dog people who chronically break the leash laws in the Ramble. And the dog people, who are there year round no matter the weather, are not that fond of the birders who tend to travel in massive aggressive herds, moving like a seasonal invasive species oblivious to anything or anyone on the ground who is not a bird. There are obnoxious birder guides who show off by blasting their bird calls through the serenity to impress the people who've paid to go on their tours. In short, there is obnoxious behavior on both sides of this birder/dog people history. But after reading Amy Tan's book, I finally get it: the birds are just like us—complicated, scrappy, territorial, with bullies and submissives, predators and prey. Maybe I'll even take my binoculars there myself now that I'm solo. (N.B. The solo birders are no problem—some became my friends over the years. Christian Cooper was not a herd-group birder, and the woman who falsely accused him was a newbie dog person—Ramble etiquette is, when caught off leash, to say "Sorry" and leash up—no big deal.)

At the beginning of the book, Amy Tan writes about how she was taught to "become the bird" by her drawing instructor, and she does—struggling to understand how they recognize individuals and why they do what they do and if they can change their habits . . . which brings me to:

Some thoughts on energetic and telepathic communication that Amy Tan never mentions:

In my years of watching birders in the Ramble so obsessed with peering through binoculars and camera lenses, I often had a fantasy. Or an idea for a cartoon: what if somehow what they saw were birds staring back at them through tiny binoculars?

The thought amused me and still does, and, often while reading this book, I found myself envisioning this.

Amy Tan is mostly focused on common human senses of sight and sound in her musing about why birds react the way they do—even wondering why they are fine when she's looking at them naked-eyed through her glass doors, but the instant she picks up her binoculars, they take off. She posits that it is because she looks scary.

This brings me to a New York City anecdote:

 Read More 

Yesterday a friend told me that people feel pressured to "take a side" in war. Maybe in life too. The side I pick is FREEDOM and EQUALITY.

I pick that in this country. I pick that in the world. It's not that complicated.

If freedom and equality are my side, then everybody's pain matters. I can wish for wars to end and everybody to have equal rights. I can acknowledge the pain of people who have been attacked, killed, butchered, raped, burned, and abducted while enjoying a music festival, and I can acknowledge the pain of innocents who are being slaughtered by an army directed by a tyrant who cares only about maintaining power. I can call for the release of innocents on both sides from horrific actions.

If freedom and equality are my side, I can acknowledge the history of my own country and also live here, knowing that I have a right to my home, even though others were butchered in a genocide that gave me the land on which my home stands. I can choose personal actions to see that everybody's pain is acknowledged and everybody matters and that past wrongs are not perpetuated or repeated.

If freedom and equality are my side, I can hold painful contradictions and refuse to give in to catch phrases that condemn everybody of one race or ethnicity.

It's not that hard.

Our bodies are maps—not of regions but of history. And not only of our own history, but of the history of our ancestors. So when I learn history, I'm learning and feeling it in my body.

I'm reading The Cost of Free Land: Jews, Lakota, and an American Inheritance, the personal research and story of author Rebecca Clarren about her Jewish ancestors and how they came to settle in South Dakota—specifically land that had been stolen from the Lakota, and to this day, still legally belongs to them (the Black Hills), because they refused a monetary settlement from the U.S. government. This is a region where Trump held a rally, and his supporters yelled at the Lakota protestors to "go back to where they came from"—ignorant to the truth that they were standing on Lakota land.

To me, this is beyond the pale.

Did you ever wonder where the expression "beyond the pale" comes from?

The Pale was a region—or more accurately, a reservation or ghetto that Jews were relegated to by the Russian empire.

In the bad old days of a dysfunctional relationship with my late mother, she often yelled at me, "This is beyond the pale!"—her judgment about everything from the way I thought and the things I didn't care about to the way I was in the world. This changed after I banned her from calling me and refused to see her, except when I initiated it. The ban lasted for a year, during which she got some behavioral therapy that taught her not to criticize me; she didn't need to understand why. So she practiced it, and we became best friends.

But just now, reading about the history carried in her and my own DNA—a history relegating us and life itself to a narrow body of land called the Pale, a region outside of which you would be killed, and even within it, you were subject to chronic terrorist attacks, called Pogroms, from the Cossacks when they would butcher, rape, and burn everybody in a town, I understand the fear that must have constricted my mother and that was behind judgments whose deepest wish was to keep me alive.

No wonder that as I read this book, my body feels battered and exhausted.

Last night was the second time in my life that I've gone to a synagogue. I'm an Ashkenazi Jew ethnically, but was not raised in any religion. I liked the music and the welcoming atmosphere, but the language was foreign and any references to "God saving us" don't resonate with me.

Nevertheless!

I'm really glad I went because following the service, there was an enlightening discussion with two representatives of an organization called Standing Together: an Israeli Jew named Alon-Lee Green and an Israeli Christian Palestinian named Sally Abed. For me, the most compelling stuff was this:

After a long discussion of the actions of Israel's right-wing government that has not only indiscriminately bombed Gaza and had a dual system of rights—civil law for Jews; military law with no due process for Palestinians who are Israeli citizens, Sally eschewed "the middle way."

When there is an oppressive authority, one must call it out and reject its binary message: "us or them." The middle way is not an option.

Suddenly lightbulbs popped on in my head.

Imagine it like any container. A jar without a top, for instance: The opening to freedom and joining the atmosphere is right there, but a very tiny portion of life who is dedicated only to holding power, blocks the opening. Because they are proportionally so small compared to who is being contained, they have to use pressure to cover the space, and they press down.

As with any contained matter, eventually the pressure makes it explode, fracture. The more this happens, the more the small group exerting the pressure must press to try to contain us.

When we fracture into binary groups, "us and thems," the oppressive force has an easier time staying on top because it has created chaos among us and there is no cohesiveness pushing back.

The oppressive force does not care about any of the groups. Their sole interest is their position, and the fractured "us and them" groups feed them.

The only way to change this whole dynamic is to wake up to the fact that it is happening. Then refuse to take part in it. Even if you are looking into the eyes of somebody who is rejecting you because you do not agree with them—the eyes of somebody who believes you are their enemy—look with soft eyes, insisting on the truth of our oneness, and at least then there is the chance that they will see and wake up to their own humanity and desire for peace and freedom.

The morning following the October 7th Hamas attack on Jews, Standing Together organized a meeting at the only space that would accept them—a mosque. Sally was supposed to make a speech. Instead, she got up on the stage and broke into tears. As she wept, so did everybody else. Everybody in the mosque cried and cried, feeling their common grief: Jews and Palestinians. And for a brief time, there was oneness.

Let's feel our grief together. And our joy. We all have it. That is the only way to dethrone the bogus "leaders" who choose killing and bullying.

Wake up!

My article "Tulsa 1921: The Trauma Continues" about my family history research and the Greenwood, OK, massacre of a neighborhood known as "Black Wall Street" was just published on Mukoli: The Peace Magazine, produced by the School of Conflict Management, Peacebuilding and Development at Kennesaw State University.

When I posted the link to the article on social media, I accompanied it with an old Polaroid of me and Mom, stating that it seemed appropriate. It is a lovely photograph that is in many ways a lie. (Read the article to understand that.) And I urged all of us to be brave enough to tell the truth.

There was a lot of good feedback from people, and one friend cited a New York Times article about the way the Tulsa Massacre started; the Times piece was far more simplistic, cut and dried, than my understanding. (Again, read the article to understand this more.) And my knee-jerk defense of what I'd written—as well as my defensive feelings—brought up a whole other story. Hence, this blog.

My friend was "puzzled by [my] description [at the end of the article]: "rumors about what was probably an innocent disagreement between two people spread like a virus"—a white elevator girl and a black janitor had an altercation which ignited a terrorist attack.

I replied:

If you read Krehbiel, which I only recommend if you want to dive into all reports ever recorded, he presents absolutely everything. The book is more like a research report of every archival source. He reports theories and then says, but they were wrong, and reports other reports. So I condensed everything, attempting to do it accurately when so many things were hearsay. Some reports say the two knew each other, may have even had a relationship; some say they argued and she yelled when he grabbed her arm; some say he tripped and grabbed her arm and she yelled. The point is, the explanations of what really happened were as viral as the internet today is, to the point where it's a game of Telephone and the truth no longer matters in the hurricane of rage that takes over.

But still I couldn't let this go. After much contemplation, I realized what was niggling at me was my friend's blanket acceptance of simple explanations she'd read, when the whole truth includes many truths. And I replied once more: Read More 

Yesterday I went to a 1:00 matinee of Merrily We Roll Along. It was wonderful as only Stephen Sondheim played by actors at the top of their game can be wonderful. The first scene shows a man whose life is a career success and a personal debacle, and then the music asks, "How did I/we get here as we seemed to be just merrily rolling along?" The answer plays out in reverse chronological order.

Everything about this production, from the Playbill cover to the music to the mess that ensued in the last row of the balcony behind me was perfect. But it took till this morning's contemplation to see that.

The successful mess of a character, Frank, was at a crossroads after producing a Hollywood hit: would he completely fuck up his life and his family by giving in to addictions for sex and money, or would he stop himself? It was during the church silence of the moment of this decision that the usher decided to seat an entire row of high school students behind my row. They tried to be quiet, but they were kids, so they disrupted the mood and tension that the entire play had built to.

Shortly after this, at intermission, one audience member took it upon himself to scold the students, whereupon their teacher refused to allow that they'd made the mistake which had disrupted the dramatic tension, and he reprimanded the man for his anger, deflecting with an impenetrable smile and finally accusing the angry man of intolerance, thereby enraging him more. In the teacher's mind—he later explained to me—the entire problem was upper-class theatergoers disparaging inner-city students who they believed didn't belong there. When the "Fuck yous" erupted, the usher took the two men outside.

During their exeunt, I tried to explain to the girl behind me, who'd asked a question right in the middle of the silence, that the problem was that they had interrupted a tense emotional moment; that it's necessary to understand the environment they'd entered.

"It's not my fault," she protested.

The teacher, still with his impenetrable smile, returned and explained to me about mass intolerance of his students. I pointed out that the entire balcony had been jarred out of the play, and finally, he mentioned almost as an aside that the whole thing was his fault because he had thought the show began at 2:00, not 1. (Meaning he had ignored three emails from the theater verifying the time.*)

I asked the girl who'd been trying to understand the plot if she'd like to know the plot. "Yes," she replied with gratitude and relief. So I gave her and the students around her an emotional recap. They seemed to appreciate it.

What dawned on me this morning was that we "principals" all took on mirror roles to the principal actors. I became Lindsay Mendez's peacemaker/explainer, Mary; the attacking audience member became Daniel Radcliffe's irate jilted writing partner, Charley; and the smiling teacher became Jonathan Groff's irresponsible writer, Frank.

All the world's a stage . . . It is mind-blowing how we be. But if we principals in our own plays can see this device as a principle of life, if we can admit what we're really doing, maybe we'll stop being so angry.

____________

*And my need to point this out in this blog is me, once again, taking on the Lindsay Mendez role of being the smart one who's seeing the whole thing, cannot affect it, so she gets sarcastic. Oy vey, it never ends.

Little did I know almost 30 years ago that my "money job" would render one of the most important experiences of love and altruism in my life. Little did I know that it would birth not only a one-act play that got published but was never read in performance until this year, and that that experience would birth journalism in the form of this essay: "To the Hero on the J Train that Crashed on the Williamsburg Bridge 28 Years Ago.

In an editorial meeting at a spiritual magazine I used to work for, owned by a church, a senior editor proposed we do a feature on all the special knowledge about money known by Jews—have a Jewish writer do it. I gasped. So did another female Jewish editor. She was kinder than I was in her explanation of why this was not a good idea. I wanted to kill the guy. He was dumbfounded by "our" problem with his idea, but finally he gave it up.

Antisemitism is in the fabric of world history. It lurks in places you'd never expect it. The stereotypes, the belief that all of "one people" are one way—although the people who think this would laugh if you put them in such a category: all white people, all Christians, all women/men/children, etc.

People's stereotypes and extreme ignorance of this history of antisemitism, and therefore the experiences of Jews—religious Jews and people like me with no religious or cultural upbringing, but whose faces tell their heritage—remains astounding to me. When you assume that people are monsters for wanting to defend themselves, when you blame people whose children were butchered in front of them, whose families were abducted, you are being unknowingly directed by antisemitism.

I keep thinking about my first novel, Plan Z by Leslie Kove. When I wrote it in the 1980s, I had no idea it would age and therefore morph as I have. First, it was a novel about war, then trauma, then seeing all the beautiful colors in the world, and in this particular moment, about the experience of being a person bombarded by other people's misconceptions of them.

My mother would be 102 today. I just read a letter she wrote to her brother in 1942 where she waxes poetic about a man she wanted to marry (not my father). "Don't let his last name fool you—" she writes, "he's one of us." Code that Jews know well, whether you grew up in the religion or not.

[This article first appeared in www.Rewireme.com in 2016.]

It's a scientific fact: experiences change markers on the DNA of traumatized people, and these markers can be passed to future generations—making them more likely to deal badly with stress. However, the good news is that since we know that this adaptive evolutionary process happens, we can consciously choose to use it in the opposite direction—creating a legacy of positive conscious change.

I am sitting in the cluttered office of Rachel Yehuda, Ph.D., the very vibrant and very busy Professor of Psychiatry and Neuroscience, Director of the Traumatic Stress Studies Division at the Mount Sinai School of Medicine, and Director of Mental Health at the James J. Peters Veterans Affairs Medical Center in the Bronx, NY. I am here because of the results of two of her studies on the transgenerational effects of trauma on the DNA of the offspring of Holocaust survivors and mothers who were pregnant and traumatized by the 9/11 terrorist attacks. But I quickly learn that these studies are but stepping stones in a research journey that has been going on for decades. And it is the accumulation of stepping stones that has led Yehuda and her team to know how to interpret the epigenetics ("the study of the molecular mechanisms by which environment controls gene activity") of the Holocaust and 9/11 trauma legacy studies.

"We've been saying versions of [the study results] for a really long time," Yehuda says. But the irrefutable finding of a chemical mark on a gene that is passed from parent to child has given validation to something many people sense.

"There's no particular reason to believe that the findings would be limited to the populations that we've studied," explains Yehuda. "It's hard to imagine that if there were such a thing as transmitted effects of trauma or reactions of the offspring to parental trauma that this would only occur for some traumas and not others. So we've got to imagine that this is going to somehow be a universal phenomenon." However she emphasizes the need for more scientific studies in different groups of people.

"I think that people are resonating with [the findings]," she continues, "because they see it for what it probably is which is something more universal that explains a lot of things that have really not had the proper words by way of explanation. People do feel that somehow the experiences from their parents and generations past are meaningful in some way. Epigenetics gives us a language, a vocabulary to begin to talk about these kinds of phenomena.

"I think that people who feel traumatized know that something isn't what it should be, but sometimes they have difficulty connecting how they're feeling to an event. Or perhaps they feel that they're exaggerating or have an exaggerated response to an event. And what concepts like this—concepts of sensitization or things like that—have going for them is that they help us understand why our response to the environment isn't just a response to what's happening to us but may be more of a collective response to how we're looking at things based on events that might have occurred in prior generations. So maybe it's like an overwriting on the genes in some way."

So how can we use this information? Read More 

Sublime. That's the fastest way to describe this writing, this story, this world birthed by David James Duncan.

For almost 800 pages I've been swimming in the Ocean of Sublime—an ocean you can just as easily drown in as float. I'll get to that in a moment.

Second and third thoughts: How the f**k did he write this (let alone get it published) and how on earth can I convey what this is to people who may consider it a foreign language as well as the few humans who live for this stuff?

I don't know the answers to either of those questions. In addition, I don't know who besides me would be so drawn into this book.

I can tell you that there is a mythically romantic tone throughout and there are two main characters who start the book in separate stories in Portland, OR, and Seattle, WA (location is as much a character as any person): a boy-man, Jamey, and a girl-woman, Risa. I can tell you that they are idiosyncratic, independent thinkers who feel even more deeply than they think. I can tell you that Jamey is a people-loving, irrepressible clown with a father and a dog you fall in love with. I can tell you that Risa falls in love with Sanskrit sounds and language and Vedic sages and the whole world they birth and then lives with Grady, the funniest horniest philosophy student ever written, and then with Julian, a good-looking prick who is threatened by her love of "Skrit" and the inner journey. And I can tell you that the first-person narrator feels like a person-god, who I don't believe in, but he has such a great sense of humor that I more-than-willingly suspended my disbelief.

There are plenty of other characters who appear first in their own chapters. For instance: a mountain climber and a singer who love, have a kid, then don't love; an ex-Jesuit priest and his twin brother, a street nonpriest-sadhu who gathers a flock anyway, whose epistolary history of the Catholic Church's persecution of the Beguines mesmerized me (if Herman Melville had been this joyfully light-hearted and in love with his history of whales, he could have gotten away with it).

And in a symmetry that makes subliminal sense, these people finally begin to converge in the mountains of Montana exactly halfway through this epic in an "Eastern Western"—meaning "When East [spiritual traditions] touches West [the region of the USA], the central struggle is against cosmic illusion . . . (p. # NA)" And this is when the storytelling starts to crank up, so if you get bogged down in the first 400 pages, but are liking it, stay with it . . . particularly because, very soon after the convergence begins, the god-person narrator actually explains the unorthodox structure of this massive book, and hearing it can make you sparkle, as well as spiritually roar in the backtracked scene when Risa and Jamey finally start their journey together.

I found out the hard way that I needed to take breaks. Everybody speaks within a style of cascading thoughts, although it's slightly different for each character. (Think of Shakespeare's iambic pentameter or Aaron Sorkin's smart-smart-smart speed-demon, fact-laden intellectual torrents.) When I tried to read too many chapters without a rest, the spiritual stream-of-consciousness became tedious. So subsequently I took many breaks, and when I returned, I was open to the Voice behind the voice and ate it up; I realized taking breaks also evoked contemplation about what I'd read, and it was in contemplation that the heavy text got light and worked on me. Also, there are enough heavenly narrative actions and descriptions (see sample below) to break up the thought tirades.

If your life is completely focused on the surface of here and now—plot-plot-plot—and you are uninterested in awareness, enlightenment, or any kind of transcendent journey, let alone the power of the sounds of language beyond its literal meaning, you will not be interested in this book. In fact, you may feel like the distracted bar crowd who "don't get" what makes Risa, Jamey, and readers like me spiritually roar during their ecstatic convergence over a story of Gandhi's death.

But if you are a person who longs for Oneness, who is compelled by the debate between the counter-evolutionary force of ego vs. the evolutionary force of enlightenment (to embody "free nothingness at Ocean's [consciousness, All That Is] service" (p. # N/A)," if you're convinced that enlightening yourself is the only real work to be done in this life, if you pace yourself, eagerly surrendering, even to a language that sometimes strikes your poor undereducated head as chicken-scrawled squawks and the poetry of a holy fool (think Paul Beatty's screamingly hilarious The Sellout, only substitute the literary classics, mountain climbing, and Eastern philosophies for research psychology and The Little Rascals), you may end up in a blindingly brilliant roofless Sun House of indefinable dimensions—happier and more heartbroken than you imagined possible. Read More 

I love editor Chuck Reece's title and dek (line that follows a title) for my essay on Salvation South. I hope you enjoy it.

Take Off Your Shoes and Be Quiet

A meditation retreat shouldn't make you angry, right? But if it does, maybe you should simply wait, just a little longer.

Read it here: Salvation South

And check out some of the other articles on the site. In my opinion, at the hands of editor Chuck Reece, Salvation South is a New Yorker-calibre publication.

If it weren't an oxymoron, I might quip, "Loners of the world unite." And then I'd laugh, because I'm a happy loner with a sense of humor.

I like people. It's just that I don't need them around me most of the time. I have fun at gatherings. But one a week . . . or month . . . is sufficient. Conversations are inspiring, but silence feels like home.

Years ago I took the Myers-Briggs personality test and learned that my diagnosis is INFJ, which stands for Introverted, Intuitive, Feeling, Judging—a rare type (estimated to be 1 to 3 percent of U.S. population) because our characteristics are apparently incompatible with each other. I find no incompatibility between my enjoyment of people and my preference to be alone; my ability to read just about anything emotionally and intuitively and my inimitable practicality, skepticism, and love of evidence-based conclusions.

In her wonderful memoir Becoming, Michelle Obama says that if you don't see your personal story in the cultural narrative, tell it.

As I said, I love practicality and that was a practical suggestion. So I did it.

I'm thrilled that my new essay "Walking Alone—Dangerous or Heroic?" is in the spring issue of Prairie Fire magazine, distributed only in Canada, but you can buy the issue online:

Prairie Fire

And here's a little video preview:

It was February 2013. I'd been freelance book editing since losing my magazine job—on a day christened "Bloody Wednesday" in NY publishing—just before Christmas in 2008. Freelancing is a feast or famine deal, and I'd had close to a month of famine when a voice in my head whispered, "It's time. Pull Mom's manuscript out of the closet."

In 1957, when I was six, my mother, Edna Robinson, had written a short story called "The Trouble with the Truth." After it was published in the 1959 edition of the New World Writing book series, selected as one of the "most exciting and original" stories of its time by editors who had previously introduced the work of Samuel Beckett and Jack Kerouac, Edna's intensity became impenetrable. I remember watching her burrowed in her study typing. Why was she so mad, I wondered.

She wasn't mad. As a writer, I now understand the intensity. She was working her story into a novel of the same title. And when that novel was optioned by Harper & Row . . . and then dropped simply because it was about a single father with two peculiar children in the 1920s and '30s and To Kill a Mockingbird had occupied that territory, I believe something in my mother died.

When I first read The Trouble with the Truth in the 1970s, I loved it. The writing was gorgeous but I thought it needed some work. I wanted to talk about it, but Edna wouldn't discuss it. However, now it was 2013, Edna was dead, she'd left her manuscripts to me, and I was an unemployed book editor.

I pulled the crushed brown box out of the bowels of my closet and I'd barely begun to read the still-gorgeous prose on the old typewritten pages, when I realized this was a complete waste of energy. I was going to work on it, so why not read as I typed? And as soon as I began to do that, I realized there was a more efficient way: read as I edited and typed. And as soon as I began to see the timeline and fact glitches and all the undeveloped emotional underpinnings of the story, I decided to read as I doctored, typed, and yelled at Edna.

And I swear I heard her laughing. This was our dynamic when we were screenwriting partners: I'd yell, she'd laugh, I'd fix the mess, she'd write gorgeous lyrical circles around my straight-forward prose stage directions, and I'd say, "Thank you." Read More