When I was a kid, two of my favorite books were Chicken Soup with Rice and Where the Wild Things Are, both products of the wondrous imagination of Maurice Sendak.
I'm told that when I was two or three, after being read Chicken Soup with Rice for the millionth time as a bedtime story, I declared that Chicken Soup with Rice comes out of a can.
The movie version of Where the Wild Things Are (directed by Spike Jonze with a script by Jonze and David Eggers) a few years back was polarizing. I know a lot of people who completely hated it -- some thought it was too on-the-nose and filled with psychobabble. Others were shocked by how unhappy the monsters were.
For me, the blending of id-filled adventurousness and the growing awareness of loss was heartbreaking.
The loss of Maurice Sendak this week at age 83 was a sad occasion.
And I'm sure I'm not the only one who was reminded of childhood -- with all the excitement, amazement, and danger that entails.
Thanks for so many decades of great stories and pictures (not to mention sets for plays and operas).
She was holed up in a small motel room at the edge of the desert, drinking heavily and watching numbers flick by on her laptop.
I waited patiently. In years past, brilliant and powerful men had paid her millions for her insights and opinions. I wondered how she'd downsized from her previous life to a single suitcase, a laptop, and a 19-year-old Ford with a dented fender.
Finally she closed the laptop. And slowly stretched out the word "shit" until it sounded like it had 14 syllables.
"Follow the money," she told me.
So I did.
Here's what I found:
There is a completely unregulated pool of Credit Default Swaps that is gigantic. It's hard to know exactly how big since there's no regulation (and no requirements for reserves and no way to accurately set prices), but experts estimate it's between 800 and 1,200 trillion dollars.
That amount is hard to fathom.
So let me put it another way.
The total annual value of everything in the world is about $50 trillion.
So the amount of outstanding Credit Default Swaps is 16 to 24 years worth of everything in the entire world.
So what happens if someone has to start paying off large numbers of those Credit Default Swaps?
I couldn't imagine, so I went back to the motel room. I'd ask her. Certainly she'd know.
The Ford with the dented fender wasn't there. And her door was open.
Empty liquor bottles littered the floor. But the suitcase wasn't there and she was clearly gone.
All she left behind was a small note. It read "We are all fucked."
If all of this seems silly now (and it does), it was a big deal back then.
And, if you were a fairly good Canadian pop band desperate for publicity of any kind, why wouldn't you be happy about something this completely and totally ridiculous?
There, outside a cheap falafel place, a modestly dressed young couple paused. On the table in front of them were two pitas wrapped in white paper. And two cups of water.
And as the lunchtime crowd raced around them, they were oblivious.
Not because they were in love (although they might have been).
Not because they were a rock-solid partnership taking their stance against an indifferent world (although, again, they might have been).
But because they bowed their heads.
And they both whispered long-memorized phrases of prayer.
Phrases that visibly brought them comfort and peace.
And a moment later, it was done. And they looked up and they smiled. And bit into the pitas.
I'm sure many of my atheist friends would mock them mercilessly, would tease them for believing in fairy tales, things that are clearly untrue.
But maybe that's not the point. Maybe it's not the truth that's so wondrous and magical.
Maybe it's the act of concentration, the bringing of Grace into a world that so desperately needs more.
They looked up and caught me staring. And they both nodded at me. Not wanting to convert me or preach to me, but just wanting to let that moment of Grace radiate out from them.
Norman Greenbaum sold two million copies of this record 42 years ago.
His previous band had broken up after scoring one minor novelty hit ("The Eggplant that Ate Chicago") a few years earlier.
And then one night Greenbaum (who was raised as a fairly conservative Jew) was watching TV and saw Porter Wagoner singing a gospel song.
And Greenbaum thought it would be fun to write a gospel song with psychedelic rock leanings. It took him 15 minutes.
You could claim this was an act of pure cynicism on his part. Or you could claim it was pure divine inspiration.
Whatever the case, the song (with its unmistakable fuzz-guitar) struck a nerve.