Sons struggling to live up to fathers. Sons striving to outdo fathers. Sons scheming to avenge fathers. Sons burning to one-up fathers. Sons yearning to impress fathers who vanished early on, later on or vanished altogether. Sons leaning on fathers. Sons using fathers as reverse-play books.
There is no natural conclusion to life as much as there isn’t a natural conclusion to a story because, well, because! Because after the credit scroll reads the END and after the curtain closes on a play, SOMETHING continues. That’s how I see life. After all, no pun intended, after all, after the end there is applause or booing or indifference, there is something.
“You’re an amalgam”
“I’m an amalgam?”
“Yes, and that’s all you are”
I took that to be a compliment.
I looked at my biceps for the first time in years. They seemed pretty firm. My trousers were kind of loose, which obviously meant that I’d lost weight. I took a bus for the first time in decades.
“An abnormal response to an abnormal situation is normal“, a voice said to me coming out of one of those kitchen vents. “An abnormal response to an abnormal situation is normal”
From “Lost Case of a Brief Case”
Gerald Thomas – London – 2012
Photos below, In order of appearance: Julian Beck, George Bartenieff and Fred Newman (Beckett Trilogy, NYC, 1985) – Judith Malina and I, NYC, 2007 – Heiner Mueller and I at his place West Berlin, 1985 – Philip Glass gently strangling me, Rio, 1989 – Me, age 16 – Ze Celso and I, Rio, 1997 – John Paul Jones in our many meetings re: opera Ghost Sonata – Philip Glass, age 75 and looking younger (2012) – Fernanda Montenegro in my “Flash and Crash Days” (Hamburg 1992) – Caetano Velloso and I, Rio, 2001 – GT squeezed between Haroldo and Augusto de Campos (concrete poets) and, finally, Samuel Beckett and I, Paris 1984 and Ellen Stewart (La MaMa) and I, circa 1987