Nobody thought it would be one of the kids

Nobody probably thought the Boat Crew would last this long, actually.

When four young couples from the same Cedar Rapids Lutheran church rented a houseboat and sailed up and down the Mississippi River for a long weekend in the summer of 1971, nobody probably even thought it was more than a one-time vacation.

But the couples invited more couples and did it again the next summer, and the next. Over time, a few couples came and went, but the tradition lived on summer after summer. Eventually a core group of seven couples emerged, and the Boat Crew was established … and a vital extended family was born.
Unofficially (or officially, depending on your personal opinion) the group’s name was the Mississippi River Marching and Drinking Society. But “Boat Crew” was easier to say. And less complicated to explain to the couples’ children, who were all about the age of the Boat Crew tradition itself.

As lives and careers evolved, many of the couples moved away … but everyone came back summer after summer for what had become an annual gathering of Boat Crew family with bonds as strong as any biological family.

And that family bond extended beyond the relationship between the seven couples; their children often spent the Boat Crew weekends together in one couple’s house, under the probably exhausted watch of two or three weekend-long babysitters.

Naturally, the kids developed a family bond as strong as their parents’. They were unofficial siblings in an extended family network, and they felt confident in the parental love they received from every member of the Boat Crew.

As the summers passed, the Boat Crew bond continued to grow and strengthen, especially over a developing collection of in-jokes, funny stories and traditions that became almost sacred. The most prominent tradition was Joy. It started when one couple brought a large white flag emblazoned with the word Joy in bright colors and displayed it on the ship’s mast. The flag appeared every summer, and eventually it inspired the regular exchanging of Joy-festooned knickknacks, shirts, Christmas ornaments (all collectively over the years described as "Joy shit") and even one summer little bottles of Joy dishwashing soap.

Music—an integral part of the Lutheran church where they all met—was just as important to the Boat Crew. The group contained many talented singers, and as they gathered under the stars with a guitar and a couple bottles of wine each summer, they sang hymns and folk songs and show tunes and whatever else they could think of. Their unofficial anthem was “Beautiful Savior,” which they sang together—in full, glorious harmony—on every gathering.

As the kids grew over the next four decades, the Boat Crew also started convening off-season for confirmations and graduations and weddings and grandchildren and the occasional family tragedy … and the inevitable deaths of the Boat Crew couples’ elderly parents.

And through it all, the Boat Crew became a bit of a statistical anomaly: seven couples who lived into their 50s and 60s and 70s and now 80s … and stayed friends … and stayed married … and stayed alive until the first ones passed away in the last few years.

As they started to retire from their jobs and prioritize grandparent obligations over Boat Crew gatherings, the group wasn’t always able to find a summer weekend that all seven couples could attend. And the “boat” part of Boat Crew became a bit of an anachronism; the summer reunions were happening now in Bed and Breakfasts overlooking the Mississippi instead of boats on the Mississippi.
And as they started to navigate the medical infirmities and physical indignities that come with age, the Boat Crew members started to contemplate their own mortality. Never ones to face life with fear or even reverence, they were realistic about—and at peace with—the inevitability of their deaths … and they were not above having betting pools over who would go next.

But it never occurred to anyone that the first to die might not be one of the adults.

Robbie (who as an adult called himself Robert but I’d known him since we were toddlers and I could never think of him as anyone but Robbie) was 42, pretty much right in the middle of the range of ages of the Boat Crew kids. He started getting sick 14 years ago last summer, but he didn’t think it was much to worry about: just some lower back pain, fatigue and abdominal discomfort. But then the guy behind the Chicago neighborhood deli counter where he went every day told him he looked yellow. And he became painfully constipated. And on a trip home to see his parents in Iowa, he decided to see a doctor.

And that’s where he found out.

Colon cancer.

Stage 4.

Colon cancer patients at stage 4 have an 8-15% chance of being alive five years after diagnosis. And Robbie, forever the optimist, dove right into surgery and chemotherapy while his parents took care of him in their home.

But it quickly became obvious that he was losing the battle. And as he eventually slipped into a coma, his parents—buoyed by the love and calls and texts and emails of Boat Crew members across the country—kept a vigil by his bed.

And six weeks after his diagnosis—six weeks after driving himself and his two cats seven hours from Chicago to his parents’ house, five weeks after walking into the doctor’s office with what he thought were just stomach pains, three weeks after cheering on friends in the Chicago Marathon via Facebook—Robbie drew his last breath, sending waves of shock and devastation throughout his extended Boat Crew family.

Robbie’s father had died of cancer 40 years earlier, before the Boat Crew had been officially established. His widowed mother and the man who eventually became her next husband had been regular Boat Crew members from nearly the beginning.

While she was still single, though, she and Robbie had taken vacations with our family a number of times, often to Adventureland amusement park in Des Moines, Iowa, and once on a Bicentennial road trip to Philadelphia to see the Liberty Bell and to Washington, D.C., to see pretty much everything else associated with America’s birth.

Robbie and I went to different high schools and colleges, but we eventually both found our ways to Chicago. We kept seeing each other at Boat Crew gatherings, but we’d slowly drifted apart … as had many of the Boat Crew kids as we scattered about the country and built our own families.

Robbie’s parents and mine, of course, had stayed fast Boat Crew friends. And when Robbie was facing the first weeks of his cancer treatments, my parents made a trip to Des Moines to stay with them.
Robbie died 14 years ago today. Even though I knew it was inevitable, I was more choked up than I’d expected to be when I got the call. We hadn’t seen each other in probably five years. And I knew that he was no longer suffering through an excruciating illness. But his death—especially as a Boat Crew kid and not an adult—was a shock to all of us … and an indescribable devastation to his parents.

 
But for the first time in many years, the entire Boat Crew—along with a handful of Boat Crew kids—dropped everything in their lives and appeared at the funeral. Forever part of the family, we walked in with Robbie’s parents and biological family members and were seated right behind them. And when the congregation sang “Beautiful Savior,” the Boat Crew’s beautiful harmonies rose above the music as if to lift Robbie to whatever awaited him in the afterlife and remind him of the loving extended family he’d been a part of on earth.

His parents asked me to be one of his pall bearers, which I accepted as an honor. Escorting a lifelong friend to his grave is overwhelming—especially when we’re both so young—but I felt giving him a solemn, respectful final journey was the best gift I could give him.

He was family, after all.

Books: Let the Great World Spin

In the weeks and months after author Colum McCann’s father-in-law returned from his harrowing ordeal escaping one of the Twin Towers and finding his way north from the destruction and rubble of the 9/11 attacks, McCann was struck by the sheer volume of personal stories and larger narratives intertwined in the events immediately before, during and after that day.

As he looked for a way he could possibly isolate and do justice to any of those stories to help make sense of the attacks and destruction, it struck him that there were just as many stories unfolding years and decades beforehand that could build a larger, deeper, more profound context illustrating the interconnectedness of lives and how they together collectively become the past that keeps the world spinning ever forward.

Soon after the Twin Towers were completed in the early 1970s, an aerialist named Philippe Petit managed the impossible feat of stringing a tightrope between the tops of the buildings in the dead of night and walking across it one morning, capturing the attention and fascination of every New Yorker on the ground below him. McCann uses this true-life event as the cultural linchpin for anchoring the fictional characters he brings to life in and around 1974, the year of Petit’s iconic stunt.

Each chapter in Let the Great World Spin is a stand-alone short story introducing a character, a friendship, a family, or an event that may be big or small: the childhoods of two Irish brothers who eventually emigrate to America, a woman regretting that she let her daughter follow her into a life of prostitution, a wealthy housewife in a grief support group, two relapsed addicts involved in a catastrophic car accident.

Some stories interact directly. Some characters pass by each other tangentially. Almost every character makes an appearance on the day of Petit’s walk.

Two characters over time establish themselves as the metaphoric twin towers linking all these lives … and when they eventually fall, they bring the lives and stories into an even more intricate orbit.

New York City itself is both a setting and a character driving these narratives through its distinct neighborhoods, segregated socioeconomics and vibrant melting-pot identity. The New Yorkers McCann creates and the lives (and occasional deaths) he guides them through are as disparate as they are fundamentally relatable, and through them—and the moments in history they occupy—he keeps their (and by extension our) worlds living, breathing, halting, progressing, collapsing, and always spinning from the past through the present and toward our collective uncertain future.

World Mental Health Day

Today is World Mental Health Day, an annual global event started in 1992 at the World Federation of Mental Health to promote awareness, education, understanding and advocacy for those of us suffering from mental disorders, the caregivers we sometimes desperately rely on, and the larger populations in which we live and often struggle to navigate every day of our lives.

In this spirit of awareness, education, understanding and advocacy, I'm offering here a view from inside the bipolar volcano hurricane that I wrote years ago as I was emerging from a distinctively catastrophic episode:

Sometimes being bipolar means waking up with your head covered in a gray wool blanket in the middle of a hot drenching rain and the weight of it is practically crippling but you know you're not depressed and you know you're not confused and you know you can breathe and you know you're invested in fighting your way out so you treat every blink and every word and every thought as fuel that sparks the next blink and the next word and the next thought and even though you're foggy and slow and maybe even late you're MOVING and no matter how long it takes and how hard you have to work just to achieve your minimum for now you know that it's just for now and you'll sooner than later find your way out of that hot wet scratchy gray wool blanket and you'll know from hard-fought experience that you may not have the power to make the rain go away but you have the tenacity and the fortitude to outlast it and find your clarity and focus again in the warm, restorative sunlight it was trying to hide from you and even though you're never entirely sure you know exactly what that unclouded sunlight feels like you'll always get close enough to know what you're fighting for and how to be stronger and smarter and even more certain of your indestructibility the next time.

Books: Smoldering City: Chicagoans and the Great Fire, 1871–1874

I was hoping that Smoldering City: Chicagoans and the Great Fire, 1871–1874 would be a breathless page-turner about the human dramas of conflagrant destruction, abject suffering and triumph over adversity peppered with tantalizing details about old Chicago buildings and neighborhoods that I recognize. Instead it’s a hyperwonkish examination of class inequality, political grandstanding, religious imperialism (particularly the emergence of “scientific” relief that favored distributing blankets, food and financial aid to the religious and the “worthy” newly homeless rich over assisting the chronically poor and the working class who were technically able to support themselves despite the fact that there was little to no work available in the months after the fire) and the simmering intolerance toward (particularly German) immigrants in the fire’s aftermath. 

It does draw some perennial parallels to Republicans' straw-man obsession with “big” government in its discussions of Chicago’s post-fire laws against rebuilding with wood (which made rebuilding almost financially impossible for low- and middle-class fire victims) and its curiously detailed recounting of virulently sabbatical opposition to German-immigrant beer gardens serving alcohol on Sundays, which temporarily drove the mostly single-issue People’s Party into power over the status-quo Law and Order party of native-born religious privilege. 

The book does frequently refer to one concept that will amuse modern Chicago residents, though: the idea that fire victims “fled the city” northward to the neighboring community of Lake View.

Today is the anniversary of the 1871 Chicago Fire, which historians are not opposed to believing actually could have been started by a cow kicking over a lantern in Mrs. O'Leary's barn—though, to be fair, there are many other credible, though less historically charming, theories as to how the fire started. 

During the 15 years I lived in Chicago, I saw it as my civic duty to read and learn as much as I could about my city and its history. I was excited to start reading this book when I found it, but—as the above review I'd initially posted about it says—it turned out to be more of a lengthy essay on the cultural and sociopolitical Zeitgeist that framed the fire than on the timeline and geography of the unfolding inferno and the human-level experience of surviving it, which I would have found far more meaningful.

In any case, upwards of 300 people died and thousands were left homeless and impoverished 154 years ago today and tomorrow. I mark this day on my calendar every year so I'm reminded to think about who they might have been and the horrors they most certainly endured. And I encourage you to a moment today in their memory to celebrate what you have while you still have it.

Art: Skeletons Fighting Over a Pickled Herring, James Ensor

At first glance, James Ensor's 1891 Skeletons Fighting Over a Pickled Herring is perhaps a silly take on Halloween imagery. Or an homage to the memento mori ("remember that you [have to] die") traditions of Medieval and Renaissance art that placed skeletons, skulls and other symbols of mortality among the world and activities of the living. Or a metaphor for the last gasps of Impressionism and its emphasis on color and light at the expense of representational accuracy.

While the latter probably has a grain of truth to it—Impressionism in Europe had largely been killed by the emotional distortions and manipulations of Expressionism by 1891 (think of Edvard Munch's 1893 The Scream)—the skeletons and the pickled herring in Ensor's painting were more along the lines of prescient precursors to the illogicalities of Surrealism and the unorthodox silliness of the Avant-Garde.

And they were totally about his pettiness.

Ensor actually painted Skeletons Fighting Over a Pickled Herring in response to negative reviews of his work. In his world of distortions, illogicalities and silliness, the art critics are the skeletons (one with a few wisps of hair on his otherwise balding head, the other with an ostentatious hat that's failing to make him look important) and Ensor is the pickled herring. And the whole idea is bizarre and probably lost to everyone to whom it hasn't been explained.

Today, though, Skeletons Fighting Over a Pickled Herring is a relatively obscure work of dark humor with light-hearted imagery that starts 21st Century viewers down the path toward the increasingly spooky, scary traditions of modern Halloween. So enjoy its silliness now. And be sure to lock your doors and hide your pickled herring before the end of October.