ART OF BAR WRITING


SANTA FE, NM

It was just 3 in the afternoon, and I’d returned from a trip to San Diego, and my body craved relaxation, but not in the house, where suitcases remained unpacked, and dishes to be washed.  I walked down to La Fonda Hotel and sat at a table in the woodsy and old leather bar.  The smell of tequila and chips permeates the room, so I flowed with the

ambiance and ordered guacamole and a margarita. Sipping slowly, I took notice of the other people around me; old men in Spanish colonial chairs staring into the hotel activity, the reception desk staff, fudging with room reservations, and the lovely waiter, who bowed each time he came to my table. I hadn’t planned on thinking about the script I’m working on, and just as I was unwinding my limbs from the plane ride and trip from Albuquerque, ideas started boiling up like bubbles about this script. I panicked because I didn’t have my journal, or even a pen.   Ah! the gift shop.. …

” Do you have a writing pad?”

“What kind?”

“With lines.”

” We have a few.”

” I’m in a hurry, anything will do.”

” What’s the rush?”

” I’m a writer,”

” Oh, I get it.” The clerk rushed through the transaction, and as I was about to leave I remembered,  

” And a pen.”

She handed me the one she was writing with, and off I went.

Seated with my tools, I scribbled the thoughts as fast as they entered my still sober self, and when I finished, I took to writing about my surroundings.  Yes, this is a place to bar write. I’ve observed Sam Shepard in several places writing through a meal. He has the distinction of not being bothered, but if he is, he draws a line around his space with his power pupils, one glance, and you’re blown off his planet. Sam does not always  position his power pupils to defer interruption, I’ve seen him put his pen down and engage the stranger. His eyes turn to a likeness of the Mustang horse, wild and waiting for tenderness.

 You have to practice this art, because invariably someone will ask if you are a writer, if you are published, and then they tell you they want to be a writer too.  I don’t have power pupils so I put on my head-set and if necessary place  my phone to the ear, if I am in the middle of a superlative sentence that I cannot stop.  You also have to monitor your drinking, because I’ve learned more than one glass, is not going to read like it did while you were drinking.  

 

FREE STEPS


The ripples of my life.
The ripples of my life. (Photo credit: Athena’s Pix)

 

Unprepared, who knows where

The leaves will fall

They don’t plan

Where to land

Maybe New York

Maybe Los Angeles

The postman can find

The house I live in

It is only walls

That keeps me inside.

Undisclosed strangers will walk in our paths

Cross our hearts and

Tread our minds

Unidentified

We traverse our hearts discourse

Shooting for dreams of undiscovered lands

More weightless plans

I don’t know if I can see ahead

My steps like stones thrown in the river

Ripple on the banks of everyone’s estate.

 

Skipping towards freedom

In summer rays of light.

Like a leaf I break free from the branch of life.

 

MOTHER’S DIARY


MOTHER’S DIARY.

MOTHER’S DIARY


Hollywood Hollywood
Hollywood Hollywood (Photo credit: Wikipedia)

The diary my mother never wrote is from what I read in the  FBI surveillance reports,  newspaper articles and what my father told me.  My mother’s emotion’s and thoughts erupt from years of research, intuition and imagination.  When I was eleven she gave me a diary. I’ve been writing ever since. I wanted my daughter or son to understand who I was, in case I died young like her. Instead I became dedicated to writing not childbearing.

I think every mother should keep a diary for her children.

Manhattan, December 1944

I am dancing at the Copacabana Night club for the next few weeks. This tiny smoky club is filled with many interesting people. It’s different from any modeling job.

I’m tired after working all day and night, and then taking the train back home to West Orange. Some of the girls are staying at the Barbizon Hotel, so I may also if it’s not too expensive.

Last night, a group of men were seated in the front row. I didn’t know who they were, but this one stared at me all through the show. He sent a bouquet of long-stemmed roses backstage and asked me to meet him for a drink.

When I declined, he was very insistent, and so persuasive I gave in. Later on, I found out he was seated with Frank Costello, the gangster. His name is Allen, and he asked me to dine with him the following night. I hesitated again, and I’m not sure why. He made me laugh and entertained everyone at the table.

January 1944

A talent agent from Hollywood came to the Copa to see all of us dance. Mum is so excited she is already telling everyone in town, I hate when she does this.

Allen called and I agreed to dine with him. We went to El Morocco. He knows so many people. He says he’s in the film business, but there’s talk amongst the girls that he’s a gangster.

March 1944

I’m going to Hollywood for an audition. Swifty Lazar, the one that came to the Copa to see our show, said MGM is signing musical actors. They liked my photos. Allen lives in Hollywood, and is handling all the details. He’s become very interested in my career. It’s all so sudden. There isn’t time to think.

April 1944

I spent a week in Hollywood. Allen drove me all over the city, took me to Santa Monica to see the ocean, to the nightclubs on Sunset Boulevard, and Beverly Hills.

It’s like a dream. I love the city, and MGM has offered me a contract. Again, Allen is helping me make decisions and understand the film business. I don’t know what he does, but he carries a lot of cash. He gets very disturbed when I question him. I met his friend Benjamin Siegel. They are both so handsome and get anything they want.

Summer 1944

We are moving out to California next month. Allen found an apartment in Beverly Hills for us, near where sister Pat can go to High School. She’s so excited. One of the models told me Ben Siegel is a gangster. I wish Allen would open up to me more.

When we moved, our new apartment was on a beautiful street. The apartment is smaller than home, and Mum misses her garden, but she seems happy. She found a Church she likes. She is going to learn to drive.

I have already learned to drive and am saving for a car. Allen knows someone who sells cars, and said he can get me a very good deal. Sometimes, I don’t hear from him for a week, and then he shows up on the studio set with presents.

Allen, Ben and George Raft were arrested for bookmaking. George called and said it wasn’t like the papers wrote, and that Allen would call me when he could.

I’m not to discuss this with anyone. I hid the paper from Mum.

George took me out to dinner. He wants me to be in a movie with him called Nocturne. He’s very fond of Allen and said not to believe what I read in the papers.

Next week we begin filming “Ziegfeld Follies.” Fred Astaire is magnificent to watch. Life is spinning. There is no time to read, or even think. Everyone in Hollywood wants to be a star. I still daydream of going to college one day.

November 1944

I am in love with Allen. There is no turning back. He is Jewish, and his family lives in Winnipeg, Canada. He won’t talk of them, but said he loved his mother.

I wonder so often about his life, but I cannot ask questions. Maybe one day he’ll trust me more. He’s suspicious of everyone. He said he’s going to marry me when his life settles down.

 

SALON THERAPY


Paris beauty salon
Paris beauty salon (Photo credit: adrian, acediscovery)

In the salon, Wendy, who sees me coming in and senses my mood, whipped out a particularly inviting  greeting.

” What’s happening laaaaady?”

” Turning the page on another year.  OMG- how did I get to be this age?”  Screening my head for imperfections , she stroked my shoulder.

” You don’t need hi-lights, and you look terrific.

” That’s not enough,  I haven’t planned well.

” You’re an artist, you create..

” You sure I don’t need hi-lights

” No, you look fab-u-lous.”

Two women in the salon, the conversation cuts through all of our individuality, and ends up in the center, of our tribal understanding, our sensitivities, and insecurities.

UNCERTAINTY LOULOU


Morning comes after two cups of French Press.   I sit here at the desk, peeking out the glass door to  the shady side of the street.  I do not know where I will be living, what I will be doing, or who I will be doing it with next month.  Uncertainly, I move in and out of situations and get swept up in my ideas and fantasies.  I buy and sell, make and remake, move-in, move-out, leave homes, careers, friends and relationships.  I move out of comfort

art nouveau dome of light
art nouveau dome of light (Photo credit: e³°°°)

and into uncertainty because it feels more like home moving than staying in one place.

I have to put the words on the paper and look at it to make it real.

Raising a family, sprouting barriers and responsibilities might have changed me, but I didn’t. I’m unchanged in some ways, still running through the hallways of the hotels, gardens, and neighborhoods. Do you know what I mean?

EDITS AND REVISIONS IN THE GARDEN


East Palace Avenue Santa Fe
East Palace Avenue Santa Fe (Photo credit: paigeh)

SMILEY’S DICE-ADVENTURES IN LIVINGNESS

By:Luellen Smiley

 SANTA FE,NM.

I’m sitting outside in a flowerless garden because no matter how many flowers I plant, they only last one season, if that long. The garden is erupting out of its winter coat, and lime green leaves, plants, and stalks will have to do for now. The sky that seals me in is licked with revisionary hope. The kind that comes back laundered and fresh after a chosen recess from believing in the possibility of a preferred life correction.

Behind the garden, a neighbor is drumming a soft tribal beat, and on Palace Avenue the choir is singing inside the Episcopal Church on Palace Avenue. Between these distinctive tastes, there are sparrows fluttering from fan to nest to fountain. The chattering sounds like; ‘here she comes, don’t come over here, get out of my nest, watch out for that fat crow.’

It’s a mind drift, to be caught in  such UN-structured beauty, away from the manuscripts, remotes, doors, and phones. It’s like being on an island out here.  Everything we bring into our experience can be revised; a work of art, a way of speaking, thinking, portraying yourself, your way of loving, or lusting, and we all know about appearance, because our society shoves it down our throat.

Look at the possibilities in revising our patterns of behavior. What we accepted twenty years ago doesn’t mean it’s carved in our organs. We can transmute. The interior life needs lifting and tightening, just as our mind and muscles do. You won’t find any immediate remedy, or advertisements, or books on the subject because we’re consumers of products that change and revise only the visible tangibles. I wonder if I traded in my eleven year old Land Rover for a new one if I’d be really happy, and for how long? Or if I flew to Los Angeles and bought cartons of antiques, hats, and perfume if I would be grinning from ear to ear.

I begin with revising the way I experience Santa Fe. I’ve lived on the outskirts, like a storm that blew in and is waiting to blow out. It seems my storm is here for now, and so I let go of the criticism and intolerances.  Beginning with my favorite activity, dancing, I returned to  El Farol, my chosen dance hall hullabaloo, then to La Posada across the street and mingled with an assorted group of locals, guests, and actors, (who were real as pippin apples)spent a day cruzing the ghostly town of Madrid to experience the cinematic sparseness, and walked up and down Canyon Road one morning before the shops opened, and was greeted half a dozen times by strangers out walking, uniquely different in attire, disposition and stride. I love that about Santa Fe. You don’t conform, it’s a religion here!

My homework for the next few weeks is revising the interior doors of emotion, and the exterior doors of expression. I’ve set aside the memoir, (did I mention I started that again) after a publisher suggested major rewrites and editing.  I mean you have to know when to give up because you’re not going to make the team.  I’m a six page essayist. If you get me into one hundred and fifty pages, I march all over the globe and lose the reader.

You guys are smart. You know all of this; I’m just learning. I am a case of insufferable arrested development. If I felt my age, which most of you know, I’d be looking at retirement brochures. Instead I’m planning on breaking into new territory. Its a joke between my dreamer self and my inner critic, but I’m not listening to the critic.

Today I swiveled in my desk chair trying to write the column I thought I was going to write. In between gazing out the window at sky scenery, I made oatmeal cookies, watched the birds, took care of business, had a hair cut, plucked at paragraphs from Anais Nin, and danced on the treadmill. The column didn’t come out of a conscious thought wave; it just rose up, after I typed the words, the throw of the dice. The odds were I’d find my way from there.

My dad the gambler, who laid a bet on everything from sports, horses, gaming, to the Academy Awards and elections, taught me many valuable lessons. He actually told me once, ‘Take a chance for heavens sake! Go out and get arrested.’ He knew the odds of that, which is why he dared me. Life corrections begin with edits, then revisions, and then you have a new story!

Any dice to throw email:folliesls@aol.com

ROAD RHYMES


Just back from a road trip, stops in Flagstaff, Anza, San Diego, stay in Del Mar, visit Jimmy in Palm Springs, Palm Desert, unstructured impulses guiding

me. And now I have to format things, I’m not good at, but I have the content. I’ll draw a double yellow, double yellow line,  between the pages, and try to make them all line up. WROTE A LOT OF DOUBLE YELLOW LINE PAGES.

GOING GOING GONE ON ADVENTURE


It’s time; to go free-style-I am leaving Saturday-to sit on my beach blanket at Torrey Pines, looking to find the shells and the riptide, then I will go to LA and and drift along Sunset Blvd, and then Santa Barbara, all by train and then ………… short term non-commit-mental.

THE MID-LIFE NOVEL WE LIVE


Actress Betty Compson in an evening gown, in a...
Image via Wikipedia

I read in one of my books on writing that the middle of the novel is where most writers face the demon. The beginning is a gallop, the end is a relief, but the middle wiggles in and out of your grasp. The middle of our lives reflects this same obscurity.

The middle of a life span reflects all we have accomplished and all we have left incomplete. This is what they call a mid-life crisis. I get it every year. This year it is more comical. I’ve finally accepted that my constant relocating, reinventing, and being restless are not going to be solved. I am going to keep doing these. At the bottom of the restlessness is the fear of finding rest more enjoyable than movement. This flotation of comedy rotated around me last night while I was standing out on the porch observing the peacefulness. The scenery of Santa Fe is a comforting, ethereal beauty that comes at all times of the day and night, and the flow of people is integrated and festive. All I could think of was where I should go next. The discomfort of mid-life comes from trying to assimilate what you have and what you want.

Many years ago, in the summer of 1987, I was seated in a café in Monaco, truly, and a man that I was traveling with told me, “You have to make a choice.” He embarked on a long discussion about choices we make in life and how everything depends on these choices: how you live and with whom, and what you do. He pointed out to me over my first really authentic Salad Niçoise that I was an oblivious example of a woman refusing to choose. I was more interested in the salad, the yachts, the casino around the corner, and the fact that I didn’t have an evening gown to wear to dinner. I listened without argument or insult, but I was disturbed by what he said. I didn’t understand completely, but he was older and had much experience and conviction. That conversation now fits into the mid-life crisis, the comedy of errors in my life, and maybe in yours, and just how much travesty we can ignore. For my fault, as it is, I do not want to sign, commit, or make final decisions. I want it all to be a temporary placement that allows me the freedom to change.

I have lost track of my European friend, but if he met me today, he would say, “You have not changed at all.” So that is why I was standing there in the darkness on the porch and laughing like a silly girl, because it is true. I have not changed at all.

The choice facing us at mid-life is making a change now, risking losing all we have accomplished, compiled, and attached, or throwing the dice.

Beyond the obvious changes in activity, relationships, and scenery are the internal travels. They are not so easily booked. You cannot wake up one day and say, “I ‘m off to become more compassionate, or more practical, or more generous.” These journeys are taken when other factors play into our lives, such as when we get sick, demoted, or experience a trauma.

It is a very subtle inconsistency. When I unplug all the voices and listen to the one that understands, that is when I write. The middle of the story and the middle of life are the same. We and our characters have to make a choice.

***

MORE ON MICE AND MAYHEM


ADVENTURES IN LIVINGNESS

The throw of the dice this week lands on Part Two of Mice and Mayhem.

“John, I found a place! Let’s go tomorrow to check it out. This will be such an
adventure! It’s next to a riding stable, and creeks, and trees… and DH Lawrence lived up the hill.”

Part Two

Highway
64 toTaos…

My anticipation smoked from the back seat where I sat, listening to Rudy and John
in conversation, the kind that ripples like a stream, as Rudy evokes his fervor
for New Mexican history, the battles, and bravery, the legend of Billy the Kid,
and Geronimo. The summer scenery galloped past as we headed up the canyon
through Pilar, as bobbing rafters walloped the Rio Grande, as tourists snapped
photographs, as hitchhikers and wayward hobos staggered on the death trap
shoulder turn-outs… a sort of carnival that makes driving to Taos interrupt the
mundane repetition of asking myself questions I cannot answer: Why do I gamble?

“Turn left here, Rudy.”  We were on the last turn into the Writer’s
Retreat in San Cristobal.
It was virgin land, spindly wild flowers, unpaved roads, no-name streets, and
the three of us, searching for some sign of life.

“This is it,” Rudy climbed out of the car,
while John and I remained seated, unbelieving.

“Rudy, this isn’t it.” I shouted. He turned
around and on the edge of hysterics, and said, “Oh yes, it is.”

“LouLou, you threw the dice off the table
this time.” John’s laughter stunned the silence as we viewed the three attached
leaning log cabins, with barred windows, beat up furniture, and week old trash,
glaring back, as if to say, “Well, whatta you expect for $600.00 a week.”

John and Rudy went off in the direction of
the barn, and that was when I had the feeling we needed to get out fast before
the owners approached us with rifles or crack needles.

The
image of Rudy and John, poking in the field, exploring the barn, two men that
rescued and wrestled with pieces of my persona, were now joined. For most of
life, I went solo, everywhere. There
was in my mind the resolution I would remain unattached, out-of-love because
“love is more painful than lust,” a phrase I took out of this mornings NY book
review of “A Book of Secrets.”

I wandered into the multifarious pasture where
I was greeted with chickens, goats, and manure, and with a sudden rush of
urgency, I shouted: “Let’s get the hell out of here,” and dashed back to the
car. I could hear John and Rudy’s crackling laughter, and that solidified the
momentary disappointment that follows a lousy throw of the dice.

I followed my interior compass, that has been
known to deliver supreme surprises, and we ended up on Kit Carson Road, in a shower of sunshine,
and cotton balls drifting down like snowflakes.

“Turn there. Look Rudy, San Geronimo Lodge.
We made an offer on it, remember?’

“Wow,
I forgot about that one.”

“How
many places have you guys made offers on inTaos?” John asked.

In the course of remembering the different
times we lived in Taos, and the real estate agents, like Linda from Texas who
accused of us being charlatans, until our friend David kicked in and warned
her, “They’re morons, they’re not that smart,” we landed at the cross bridge to San Geronimo.

“Twelve. We forgot about the Martinezplace; the one I wanted to fix up
into polished efficiencies.” I said.

“What were you planning for the Lodge?”

“The Woodstock House, concerts in the field,
performances in the dining room, musician rooms. There was a grand piano in the
main Salon.”

The
Lodge was devotedly remodeled. The slimy green pool had turned Mediterranean blue, the grounds were riddled with pathways,
the mammoth lobby was now comfortably appointed with antiques, and the grand
piano, well, that was shut-down and used as a plant stand.

The owner, a rugged beauty with brimming
passion for her turf, showed us half a dozen rooms to choose from.

“You must have spent a fortune fixing it up.”
“You have no idea! What we were told
going in, wasn’t what we got.”

I left with resumed faith in my compass, and
knowing we made the right decision not buying San Geronimo.

Decisions about traveling, joining, meeting,
and moving, drop me in the path of mental collision. Instead of applying
academic analysis, calculations, or tried and true pragmatic reasoning, I try
to beat the odds, because I am a gambler.

John and I headed up to Taoswhile Rudy took refuge in a friend’s
casita. I suppose most vacation renal owners have alternate accommodations; but
this is a work-in-progress, like a play that doesn’t have an ending yet.

For the next six days, I wandered from the Geronimo
pool, to the terrace, to Taos on foot, and
during those hours, we rewrote the script in the privacy of our steadily silent
working room, or on the second story terrace, overlooking the fields and the Jemez Mountains.

When Rudy
called and said Mike, our renter, invited us to the reception party at the
house, I called Mike to decline. He turned me down.

“Loulou you have to come, everyone wants to
meet you.”  Everyone is a lot of people;
seventy-five guests inside the house when I am not the host stirred up my
imagination.

When we arrived, the reception party was
sprouting on the front porch, in the driveway around bistro tables, on the back
porch at a buffet table, and in the garden movie theater.

Suddenly, this face comes at me, up close: “Loulou,
I’m Mike. Come-in… What are you drinking? We love it! Come meet everyone.”  Mike has a light bulb personality, one
hundred and twenty volts of unplugged warmth and sincerity. I followed him into
the living room, and was immersed with questions and praise, at rapid
fire.  Within the hour I wilted and
tugged on John and Rudy to cross the street for dinner. “Why’d you leave?” Rudy
asked. He was eyeing a pretty blonde in the driveway.

“I don’t feel it’s right; presiding in our
house while it’s their house. I’m afraid I’ll start cleaning.”

I returned to the party when a vintage Galaxy
pulled into our driveway, and I was abandoned because John led Rudy over to see
the automobile.

By now, the party was surging and as I
recommenced my socializing the trepidation vanished. In every direction were
handshakes and hugs, conversations zigzagging from Mike’s family to Erin’s, the
bride and groom, and their friends, who came from Los Angeles.
But these were not just friends; they were neighbors.

“Neighbors inLos Angeles?” I jested.

“Oh yeah, we live in the Hollywood Hills. We
have parties every weekend. Are you THE Loulou?” I nodded. “I am THE Carlos,
and you must visit us inHollywood.”

“What
do you do Carlos?”

“Everything!
I sing, act, cook, and make trouble!” In every party there should be a Carlos.
The evening crescendo curled into a wave of anticipation when Carlos took
center stage and sang arias, from Turnadot and La Boehme. His bravura tenor
voice raised the guests from every cavity of the house. Strangers out strolling
stopped to listen and guests from La Posada spilled out in the streets.  The house was transformed, in some ways to
former visions of the artist salons I imagined and once held at Follies House.

There
were times over the last two years when Rudy and I discussed selling Gallery
LouLou, leasing it long term, and even renting rooms; options that occupied
sleepless nights, and never materialized. Now we know it is a vacation home, a
party house, a reception salon… all the things that I imagined came together
here, even Rudy and John.

Any dice to throw email: folliesls@aol.com

Out of Control


This week is on control, and losing it. You hear that phrase often enough, “she has control issues.” I’m not sure what that means. I don’t understand how a society of rules and regulations that delivers more commands every day is expected to produce a society without control issues. I lost control of my life and so I am getting in touch with “out of control.”
Bohemian living was always in my dreams, having been raised in a perfectly pressed pinafore and seated on fragile furniture. I am not really very gypsy like when it comes to home. Once upon a time I lived in a suitcase, but I have since been corrupted by the joy of controlling all the things that come into the house and find a place there.

Once faced with this alarming epiphany I vowed to give up control and accept the disorder and disruption. What I’ve rediscovered is that without a lot of stuff to organize the mind is free to think. The house chores are minimal, leaving more time to create and effect important things. Narcissism is sacrificed and replaced with more visceral reflections.

Once I place myself inside the double yellow line of society, I feel those controls closing in on me. Losing control is a replenishment of youthful spirit. It’s free and painless. Try it, take off the leash and run free.

Two days later I was in a hotel, preparing for a reunion, a day of shopping, and luxuries of a woman on the road, when the news broke.. How did you feel when you heard the news. John and I went silent, and drove two hours in more conscientious silence.