There are lots of reasons for my relative silence of late. If I could explain them - well, I guess I wouldn’t be silent then, right? It’s all I can do right now to move from day to day, occupying my variously contradictory and emotionally draining roles - writer, mother, daughter, wife, etc*.
I’ll be okay. And honestly, there’s a lot about my life right now that is going right. But this whole struggling- for- integration- amid- perpetual- sources- of- dissonance situation that afflicts, I think, most women writers (or writers, period) is an incorrigible beast - one I live with every day, and have even made peace with to some extent.
So, for whichever among my blogospheric friends might still be reading me (and who may be rightly offended that I’m so off the grid that I’m no longer reading them, much less posting any viable material here; sorry, right now it just cannot be helped), please know there is nothing to worry about.
That said, I’ll proceed with what I actually sat down to post.
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The following began as a response to, of all things, an early 90s pop video posted on YouTube. Wisely, that site’s designers forbid commenters from posting messages in excess of 500 characters, so when my little comment became utterly unwieldy (but was too obviously relevant for me to just delete), I had to put it some place.
The song is Ooh Child, and in the video it is covered by some band called ‘Dino.’ (In my internet wanderings tonight, I’ve discovered this song’s been covered by countless artists; this blogger has the lyrics for a recent Beth Orton version; the original, as best I can tell, as explained further below, was performed by the Five Stairsteps.)
Now, I can’t embed the video for Dino’s version (that feature was disabled by the guy who uploaded it - one ‘eightiesdood’), but those curious may view it by clicking here. (For some indication of its obscurity in the ensuing years, Wikipedia’s ‘disambiguation’ page for Dino, as of this moment, lists a total of twenty four things or people the term can refer to, among which this band is not one.)
Here’s what I would have posted, space permitting:
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Good Lord. This song figures in a (true) story I’ve been trying to write, and stumbling upon this answers a question that had been nagging at me. It was, indeed, 1993, and this song had been on the radio while I was living with my girlfriend at the time in Fargo, ND. I liked it, but my girlfriend found it offensively trite. Too “pop.” And I got her point. But I still quietly hummed along to it whenever it came on the radio.
We had a really miserable existence there - we’d moved to Fargo, in a huge rush, from Seattle because of some explicitly life-imperiling trouble she was in, which I was trying desperately to get her out of. Alas, said “trouble” followed us there, too, and on one mad July night we had to flee our apartment. We took refuge at this scary shelter downtown, where we didn’t know if we would be safe or not for the night - we were sort of holding our breath. The agency was going to try to get us tickets on the Greyhound to Minneapolis, though they weren’t sure, yet, how soon it could happen, since it was already late at night.
After we got settled in, we had this huge fight (the kind of fight two people have when they love each other but they’re trapped in a completely impossible and terrifying situation), which ended with me telling her that I didn’t know how or why, but we were going to get out of that mess - we were going to make it to Minneapolis alive, and we were going to shake this bad situation for good - eventually.
Then we started walking around the facility - being too scared to sleep, while we waited to see if indeed this agency was going to follow through with getting us the bus tickets. The hallways were dark and we were tip-toeing, trying not to wake any other of the emergency guests, and we saw light coming from a door. As we walked toward it, we could hear music coming from the room, growing louder as we approached, until we could make out the song.
It was, of course, “Ooh Child.” But NOT the goofy 90s version that had been on the radio weeks before, the lyrics for which I’d quite liked (for obvious reasons, I guess), while its execution in that format had been found so reprehensible by my girlfriend (who fancied herself to be an R&B aficionado**). It was clearly a different version, a truly soulful version, and (having no awareness of the original, as performed by the Five Stairsteps, as I figured out only tonight from Wikipedia), I wondered if I was having some sort of auditory hallucination - interpreting both our current circumstances and the music we were hearing in wishful ways which, objectively speaking, were wholly unwarranted.
And then we were at the door, surreptitiously peeking through it. And there was this old man there, the janitor, quietly mopping the floor. And he had a little radio plugged in on the counter behind him, so little it didn’t seem like that rich sound could possibly be coming from it, yet it was. And we just stood there, listening and watching.
He never saw us, but his presence that night somehow made us feel less alone and terrified. And a little while later our tickets came through, and we got the hell out of Fargo. (Needless to say, I’ve never been back.)
Since that night - most of which I still can’t write about, even though more than fourteen years have passed; it is to me as Dresden was to Kurt Vonnegut - I’ve heard the R&B original “Ooh Child” on several occasions, but never, somehow, the particular version that had played in our apartment earlier, which for whatever reason my girlfriend and I had bitterly argued over. Thus, while in that shelter in July of 1993, I wondered if I’d lost my mind at hearing the original for the first time, I later questioned my memory as to whether the cheesy remake I’d heard first was something I’d imagined. Because when we as human beings endure terror, every bit of sensory input passes through that terror’s filter, coloring it inexorably. In the weeks before we’d had to flee (with almost nothing save for ID, a negligible amount of cash, and the clothes on our backs), things were so tense between us, we would have fought over anything, real or imagined.
Finding this song tonight helps me to put a few puzzle pieces together. Maybe one day I’ll be able to write the rest of what happened that night, and over the ensuing weeks - which we did, both, survive, although not unscarred.
That idealistic “Ooh-oo child, things are gonna get easier/ Ooh-oo child, things’ll be brighter” lyric - with its apparently Providential timing and grace - helped to get us through the worst night of our lives. It wasn’t enough to keep us together forever (walking “in the rays of a beautiful sun”), but it served as a bridge, from the near-inevitability of a certain torturous hell (the trouble she was in, by all rights, should have gotten us both killed that night) through to a series of subsequent purgatories, before we finally split four years later.
It’s a magnificent song. Even when delivered by early 90s pop stars not heard from previously or since.
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* Notice I am not currently listing ‘activist.’ That term would imply, you know, a state of being active, which, for reasons truly beyond my control right now (and which I did not forsee when I was embarking upon the Ohio conference, which I do have thoughts about that I will eventually share), I cannot presently engage.
** Translation: She had, on occasion, lived with black folks.