MYTH

MYTH

MYTH

 

Ella and I were disgruntled when Bob, our new landlord, told us we had to move our belongings in the basement to a storage room in a building he owns on the other side of the block. There wasn’t enough room for all our stuff at the new location, so a tower of boxes now stands at the foot of my bed. Take this opportunity, I told myself sternly, to start winnowing their contents. And I’ve been making some startling discoveries. One was this forgotten logo I designed years ago for a friend, an Episcopal priest, who formed a group called Open Heart. Another is “The Black Lyre,” below. I’ve always thought I never did any creative writing before college. Then, among my high school papers, I found this story. Apparently, our assignment was to make up a myth. Actually, I was so stunned by the ending, I couldn’t believe the work was mine—until I realized that, unknowingly, I was writing about my father.

The Black Lyre

There was a feeling of disquiet among the gods on Mount Olympus that day. None had gone about their usual business. Zeus paced restlessly before his throne, while others lingered in the main hall, some conversing quietly, all sensing vaguely that something unusual was about to happen. Hebe had just been sent out to fetch some nectar, when suddenly, a shrill cry was heard from the front hall. The startled gods rushed out after her. There in the large entrance to the palace, near the astonished Hebe, stood an old man, a gnarled gnome, not half her height. Under his arm he carried two lyres—one was white, the other black. The gods were amused as well as intrigued by this strange, disheveled visitor, and they invited him to dine with them. When all were settled comfortably after the supper, he told his story.

His name was Ariphanes. He had been raised by peasants and had loved them greatly, although he knew they were not his true parents. When he was a child they often used to tell him how they had found him, a little baby, on a hillside with the two lyres beside him. He first discovered that he differed from most men in his extraordinary strength, yet he never considered it seriously. As he grew old in appearance, he didn’t lose his youthful agility and vigor. He waited for death for years and years, and finally acknowledged that no mortal man could live as long as he had. Therefore, he must be a god.

Why his divine mother and father had abandoned him, he could only guess. Probably they were ashamed of an ugly, deformed child such as he had been. Even then, they had left a sign of their love by giving him two magical instruments. He said it would be dangerous to reveal any more about his unusual power and hoped that his secrecy about this matter would not offend anyone.

The narrative completed, Zeus asked Ariphanes to demonstrate his musical ability. He submitted readily, using the white lyre, and soon the hall was filled with the sweetest, clearest tones imaginable. The enchanting melody melted away any doubts that might have existed as to the truth of his story and claim to divinity.

The homely but merry old god, with the light-heartedness of a child, soon became the favorite on Mount Olympus. What charmed them into trusting him the gods never knew. Apollo, too, could not help but like him, but, as the former champion of the lyre, he was also terribly envious of the old god’s superior talent.

Several months after his arrival, Ariphanes announced that he was leaving the palace for a week and asked that during his absence no one should touch his instruments. Apollo had been anxious to try to play the lyres of Ariphanes. Now that he had his chance, his desire overcame any guilt he might have had about ignoring the god’s request. He stole the black lyre from its peg and that evening performed for the other gods. The haunting notes soon quelled their disapproval of his actions, and gradually a certain doubt took hold in the minds of many. At first only a few whispered words were interchanged. “Ariphanes’ tale certainly was an odd one. You don’t suppose…” The suspicion grew rapidly. “He’s probably not a god at all.” Finally, all were convinced. “Surely it was all a lie!” “And we were completely taken in.” “We offered him our hospitality, confided in him…” The furious gods held a council and decided what was to be done.

On his return, Ariphanes was greeted by a host of hostile faces. Guessing the cause immediately, he hurried on to his room. The situation could be remedied only by the song of his white lyre.“We have your instruments!” Zeus thundered after him. “And now we want the truth! Admit that you have lied!”

“There is nothing to admit!” cried the old god, turning. “All I’ve told you is true! I am a god! Why, I have power greater even than yours, Zeus, and now I see that I must prove it.”

But the king of the gods seized Ariphanes and hurled him from the palace, sending the lyres flying after him.

Then the old god picked himself up and took his precious lyres. The angry jeering voices faded gradually as he made his way down the mountain.

Greatly embittered, Ariphanes descended among the mortals and wandered the earth for many years, the music of his black lyre working his revenge, for the black lyre spread doubt; the white, long unused, inspired belief. He did, indeed, prove himself a greater divinity than Zeus, for he destroyed the Greeks’ belief in their own gods.

I MEET MAURICE SENDAK

I MEET MAURICE SENDAK

I MEET MAURICE SENDAK

The night of his first lecture, Wheeler Auditorium was bursting—people were squeezed into every corner and mobbed outside the open doors. I didn’t know why it was so jam-packed because I’d never read the copyright date of Where the Wild Things Are—or of any of his other books, for that matter. I didn’t know that these college kids had grown up on his stories.

Ella had even managed to get us invitations to the reception for him afterwards in the Bancroft Library. As we walked over after the lecture, I heard Mr. Sendak behind me, telling his companions how hungry he was.

In the reception room I helped myself to a paper plate of appetizers. As I ate, I noticed that he was advancing toward the buffet table by millimeters only. As soon as he’d finish talking with one person, another would block his path. So I filled a plate with hors d’oeuvres for him and took it over, then stood back and listened to what he had to say to his crowd of admirers. When I was satisfied he wouldn’t bite—and there was a momentary lull—I finally spoke to him.

I told him I’d sent a story around to publishers and kept getting form rejection letters—no personal notes even. I said I thought kids would like it, but had begun to wonder if it was somehow threatening to adults. “Ah!” he said knowingly, “You have to be tricky to get past them.” So I asked him if he’d be willing to read my story and suggest any changes I might make. He graciously said yes.

The afternoon I delivered my manuscript to his hotel, I was a nervous wreck—I’d spent the previous days trying to write a cover letter, and now that he was about to leave, I was afraid I’d miss him altogether. When I handed the manuscript over to the hotel clerk, he gave it to a bellboy to take to Mr. Sendak’s room. I thought there was a remote chance he might read my story that night and call me.

But I never heard from him. Months passed, and I began to wonder if he’d ever received my manuscript—what if the bellboy had taken it to the wrong room? I called the hotel to see if my manila envelope had ended up in some dead-letter bin. Then I wrote reclusive Mr. Sendak himself (how I got his address shall remain my secret). I sent him a postcard with two options for him to check, including “Manuscript? What manuscript?” Which is what he checked.

So I sent him another copy along with a couple of my illustrations, including the one above. More months went by. Figuring he hadn’t liked my story and was too kind-hearted to tell me, I swallowed hard and stopped hoping. Then one December afternoon I arrived home, routinely punched the messages button on my answering machine, and heard an unfamiliar voice through static. I thought it was a wrong number and headed to the fridge. But when I heard the words “twin princes,” I froze in my tracks.

As the static cleared, I heard Mr. Sendak apologizing and explaining that he was just now recovering from a long illness. A few days later a note came on his letterhead for the Sundance Children’s Theater:

                         Dear Callie Raab,

                                                Just called you—alas, you were not

                         at home. Beauregard is a wonder! Very well told—

                         fresh & smart & I do not even mind the happy ending!

                         If you don’t mind, I will keep this manuscript—

                         to show to someone in “the business.” Please, have no

                         hope. I know and trust no one—except this one person.

                         And I don’t foolishly want to raise your hopes.

                         Forgive the long delay. A long illness—just—

                         I hope!—coming out of it.

                         I return the art—I like them too!

                         No—I’m not being nice—you are good!

                                                                                               Maurice Sendak

I wrote him back, “When I delivered my manuscript to you at the hotel, I felt I was nearing the end of a long journey. Thank you for making the ending a happy one. Your appreciation of my work is deeply, deeply felt.”

I’d waited half a lifetime for a father’s—or at least a father figure’s—approval, and at long last I had it.

Prince Beauregard and the Beast Baby