dianahooley Current Events

Drinking, Stealing, and Lying–Oh My!

Last night I dreamed I stole a can of beer from a gas station convenience store. Let me be clear: I don’t like or drink beer. Maybe I don’t like beer because my father drank enough Schlitz, Old Milwaukee, and Black Label beer to float a boat in Lake Michigan. Lake Michigan is after all, a body of water not far from where I grew up in northern Indiana, and very near the Wisconsin breweries where the beer was fermented.

In my dream what made me feel most guilty was not that I’d stolen a can of beer, but the lie I told after that. I tried to explain away my thievery to the gas station owner by saying I wouldn’t have nabbed the beer if the clerk hadn’t refused to give me the diet Coke I’d purchased. The dream gods decided I shouldn’t get away with my lie. There was a video camera mounted in the corner of the store and in my dream I saw my grainy black and white image (I’m not sure if I dream in color—but the video of me was definitely in black and white) stealthily taking a beer—and a beer only—from the cooler. The next scene in my dream was me walking away, scot-free from my crime, out the store and through an attached garage—where several mechanics were working under my baby blue Prius as it was hoisted in the air. Dreams can be notoriously digressive.

Whence cometh these dreams of such perfidy and mendacious behavior? Does my subconscious know something about me that I don’t? At the core am I a thieving, sneaky, liar? The latest theory about dreams is that they don’t actually mean anything, for which I’m eternally grateful considering all the times I’ve dreamed I was standing in the middle of a high school hallway disturbingly naked. Dreams are supposed to be just random thoughts and imagery pulled from the subconscious and pieced together in a story—or not. Some people can’t make any sense of what they dream.

The thing that intrigues me about this theory is that I dreamed about stealing and lying. Why was stealing and lying floating around in my nighttime neural circuitry? I’ve always believed myself to be fairly honest but when I think about it, how honest am I really? Apparently, the average person lies a couple of times a day without even batting an eyelash. It becomes second nature. Some of this is harmless “white lies” or lies by omission. What people say, or don’t say, to get through their day more smoothly. Other lying is more deliberate and destructive. Some of our dishonesty we dismiss with: “Well, that may be true for you—but it’s not true for me.” Relativity and post-modernism birthed an unintended consequence: it gave us all an excuse for lying.

Probably I dreamed about stealing and lying because I’m a news junkie and though all politicians lie, our current president has taken the practice to new levels. Growing up, parents and teachers, adults around me, could shame me when I told a lie. Today, “alternative truth” seems almost fashionable. In fact, I just read that the New Orleans Saints football fans, since their questionable loss to the Los Angeles Rams, have taken to calling the NFL: “alternative truth” football.

I understand some of the president’s supporters dismiss his lies by calling them “puffery”—as in an airy nothingness that doesn’t mean anything really, like the feathery head of a dandelion that once you blow on it, falls apart in the breeze. But the feathery head of a dandelion is full of seeds, seeds that can take root. In our current political climate, alternative facts (or lies) are distributed into our culture in long chains of disinformation like that old party game: Telephone. Lying itself becomes entrenched and validated. There is something jittery-making when our leadership throws truth out the window like a discarded Big Mac box. We’re littering our landscape, our mind with all this refuse. I long for the clean-up crew. I long for a good, dreamless night. When’s the next election?

dianahooley Books, Film, Art

The Art Work of DeGrazia, Tony Doerr, and J. R. Simplot

I stood in front of Ted DeGrazia’s painting of Navajo children dancing in a circle, the one that UNICEF picked for their annual Christmas card in 1960, and tried to “feel” the painting. I like art and sometimes art can move me, evoke emotion and stir some ancient memory. I have a reproduction of a watercolor my old boss, Bill Trueba painted that I find absolutely haunting. It’s a picture, a silhouette really, of a man walking city streets at night. Bill brushstrokes loneliness and despair across his canvas in orange, blues and black. For some reason though, despite the fact DeGrazia is a famous southwest painter and his Navajo children painting-turned-Christmas card sold four million cards, I’ve little attraction for this piece of art.

Who can understand why some art touches us and not others, or vice-versa? The other evening at a supper party, talk turned to movies likely nominated for the Oscars this year. I said, “I loved watching Roma on Netflix. That’s a beautiful movie.”

Leslie about spit out the water she was drinking. “What? You liked Roma? How could anybody like that movie? What was it about anyways? Does anybody know? I didn’t get it. It just seemed like a lot of family scenes down in Mexico during the 70’s.”

I could have told Leslie that Rotten Tomatoes web site gave Roma a 99% certified “fresh” ranking—but that was too much like telling someone the reason I like banana splits is because everyone else says they’re great–so I said instead:

“Yeah, you’re right Leslie. There’s hardly any plot in Roma. For me it’s more about the setting, the character, the mood of the film. So melancholy: this poor indigenous woman, destined to live her life scrubbing the laundry and tending the children of some other Mexican family, an upper-class, European-looking one.”

Books are another art form I’ve found, that can draw strikingly different reactions depending on the reader. For example, is there an Idaho reader alive, who doesn’t revere Anthony Doerr (our native son) and dote on his Pulitzer Prize-winning best-seller, All the Light We Cannot See? I’m going to speak sacrilege here and confess: this Idahoan was not awed by Doerr’s book. Though I think Doerr is a wonderfully skilled and creative writer, his book to me was not a work of art. I’ve considered this could be a case of sour grapes. Why didn’t I write such a book? Probably because I don’t have his talent. But I thought, generally-speaking, All the Light We Cannot See was too calculated in its construction. It was like he wrote today’s formula for a literary best-seller: a blind, handicapped girl and something about the Nazis occupation of Europe during WWII. Why didn’t Tony, being from Idaho, write about . . . well . . . an Idaho potato farmer?

Speaking of Idaho potato farmers, I’ll end this little essay on artistic taste by saying that a couple of years ago I took a tour of a Boise home that once belonged to the potato magnate, J. R. Simplot. One piece of art he’d mounted on his walls struck me more than any of the other artwork I saw in his old home. It was a framed poster of sexy Marilyn Monroe wearing a burlap potato sack, circa 1951. I stood in front of the picture for some moments, much like I did DeGrazia’s painting, waiting and wondering. What I concluded was: though the picture didn’t speak to me, it certainly must have to Simplot. Here was a billboard advertising the values of J. R. Simplot, a potato farmer in the prime of his manhood. Thus, I think art can be as they say, many things to many people. Beauty and what’s not so pretty–it’s all in the eye of the beholder.

dianahooley Out West

Lost in California

Henry quickly led me along the palm-lined boulevard of this southern California town determined to help me keep my walking pace up. My husband and I were vacationing down here and I decided to get some exercise by joining a morning walking group. Henry and I however, were the only ones that showed up for this morning’s walk. Which didn’t faze Henry. He was happy to act as my guide around the neighborhoods. He’d done this group walk a lot.

“You have to understand . . . ,” he paused a second, both of us were breathing heavy from race-walking, “. . . I grew up in New York.” Henry was explaining why he wanted to move away from this California paradise after living here several years.

“But it’s so beautiful here,” I said as we moved past trees loaded with yellow lemons, red cardinals flitting from branch to branch.

“It’s okay. But it’s not what I’m used to. I’d probably still be in New York if not for 9-11.”

“You were in 9-11?” That tragedy seemed so far away now, in terms of both time and distance from sunny California.
“Yeah. I lived eight blocks from the towers, in Tribeca, when it happened. It was horrific, you know. It just does something to you. Experiencing that. So then I moved out here. Got as far away from New York as I could get.”

“But it’s not home is it?” I said, recognizing Henry’s restlessness.

“No, not nearly,” then he picked up the pace again.

We finished our neighborhood walk and I went back to the motel thinking about what Henry said. He sounded like a refugee, a person displaced not by famine or war, but by a certain kind of terror none-the-less. His story made me think of the sad lyrics of an old Neil Diamond song I heard when I was a young girl: “. . . I’m lost between two shores. L.A.’s fine, but it ain’t home. New York’s home but it ain’t mine no more . . .”

Some people never find home, try though they might. Changing locations only increases the alienation. Even on this wonderful winter vacation, suddenly, I felt it: a longing for my home in Idaho. No lemon trees or red cardinals there. Just big-shouldered mountains and wide stretches of sagebrush desert—but it suits me just fine.