All posts by Edward Staskus

Edward Staskus is a freelance writer from Sudbury, Ontario. He lives in Lakewood, Ohio. His crime thrillers "Cross Walk" and "Bomb City" can be found on Amazon.

Massage in a Bottle

By Ed Staskus

When the Bengali monk Vivekananda stepped up to the lectern at the World’s Colombian Exposition in Chicago in 1893, he was nervous about the speech he was going to give to an audience of more than seven thousand, a speech that would plant a new seed of yoga in America. On another stage at the same time at the same World’s Exposition, the ex-cowboy and self-styled Rattlesnake King was squeezing oil from snakes he had just killed.

He used the squeeze in his patent medicines.

Clarke Stanley, one of the most successful and colorful tonic barkers of the 19th century, was an even bigger attraction than the exotic little brown-skinned man from India. He wasn’t nervous. He wasn’t skittish. He was charming. He claimed his Snake Oil Liniment gave immediate relief to both man and beast for everything from toothaches and sore throats to sciatica and rheumatism.

It never went rancid, either, said the Snakeman.

“Ladies and gentlemen come up close where everyone can see. It even cures squinting.” The crowd looked for their wallets and purses. Clarke Stanley looked through the wide open end of their pipe dreams. It was a fool’s paradise.

Patent medicines are as old as Daffy’s Elixir, first blended in England in 1647, and popular in the United States into the late 19th century. The alcohol-fortified and drug-laced remedies were peddled by grocerymen goldsmiths tinkers traveling salesmen. They were available for almost any ailment, including colic cuts bruises baldness boils nerve damage lame backs deafness and “those painful complaints and weaknesses so common to our female population.”

Almost all of them were concoctions fortified with alcohol and cocaine or simply thin air.

The Pure Food and Drug Act of 1906 led to the end of Joy to the World Pain Killer, laced with opium, Fowler’s Arsenic Solution, which was iron mixed with arsenic for heart ailments, and the wildly popular Dr. Kilmer’s Swamp Root, meant to treat something called “internal slime fever.”

The many medical advances of the 20th century and into the 21st, however, did not put an end to quackery. Empty nutritional and supplement schemes, fraudulent arthritis products, and spurious cancer clinics have led the way. In 2017 the FDA warned stem cell clinics about their cure-all claims.

“Stem cell clinics that mislead vulnerable patients into believing they are being given safe, effective treatments that are in full compliance with the law are dangerously exploiting consumers and putting their health at risk,” said FDA Commissioner Scott Gottlieb.

More than a hundred years ago Vivekananda, in traditional Hindu monk garb, and known as the black pagan in orange clothes, traveled across the United States on a lecture tour. He often spoke about good health giving a leg up to making it down the yellow brick road to liberation.

“He who wants to become a Bhakta must be strong, must be healthy,” he said. “Build up your health. As long as the body lives there must be strength in the body. Yoga staves off disease.”

A Bhakta is a devotee of God. Bhakti Yoga, also known as Bhakti Marga, is largely a spiritual path. It employs yoga practice and discipline to help get to where it wants to go.

Although Vivekananda always believed in yoga, he never said it was the be all and end all of body mind spirit, that it was a tonic that cured all ills. If you don’t do yoga there’s no need to stress out about it. He seems to have believed the best cure was a quiet mind, like the best cure for sleeplessness is getting a good night’s sleep.

That’s not what contemporary yoga in our marketplace world says. It says there is a remedy for every problem and the remedy is yoga. Step right up! Right here for the song and dance! There’s something for everybody!

There are “4 Yoga Poses to Cure Diabetes” and “5 Top Yoga Poses to Cure Gallstones” and “6 Effective Yoga Poses for Autism.”

There are “8 Easy Yoga Poses That Will Cure Fibromyalgia Quickly” and “9 Yoga Poses for Arthritis Relief” and “10 Yoga Poses to Heal Migraines.” Yoga has become a dime-a-dozen commodity on the midway and the magazines, on You Tube and Facebook, at the corner store.

There are yoga poses to re-grow hair, alleviate and prevent nerve pain, fight epilepsy, help you poop, treat skin problems, restore irregular periods to a timely basis, improve heart health, lower blood pressure, calm down restless leg syndrome, ease ankylosing spondylitis, overcome PTSD, relieve neck shoulder lower back hip flexor pain, and resolve anxiety disorder and build your confidence.

There is even a kind of yoga to fatten up your wallet and lots of yoga to reduce your dress size.

There is “Pranayama Yoga Cures Almost All Incurable Diseases!”

The only thing yoga doesn’t seem to be able to take care of are gunshot wounds and compound fractures. Emergency rooms are still needed for that.

Writing in The Telegraph in a recent feature article called ‘Why Yoga Cures Everything,’ Lucy Fry asked, “My big question is no longer why are so many people doing yoga. It’s why isn’t everyone?”

On the other hand, Thomas Browne, a 17th century writer, argued against doing anything at all. “We all labor against our own cure, for death is the cure of all diseases.”

Tara Stiles is not Thomas Browne, but she has sold many many more books than him. Thomas Browne was an English polymath influenced by the scientific revolution of Baconian enquiry. Tara Stiles is an American model turned yoga instructor. In her book “Yoga Cures: Simple Routines to Conquer More Than 50 Common Ailments and Live Pain-Free”she tackles everything from “arthritis to fibromyalgia to jiggly thighs and hangovers.”

Jiggly thighs are flabby thighs that can’t be slid into skinny jeans or look sexy in a pair of shorts. The usual remedy is to do cardio-vascular exercises that involve your legs, like walking and running, and stop eating oily fatty sugary processed foods. Or try “Yoga Cures,” on sale on Amazon, free shipping, and read it sitting around on the sofa.

“If you’ve got an ache, pain, or ‘ism, she’s got the natural answer. So dump the over-the-counter pills and pop open Yoga Cures,” recommends Kris Carr, author of her own “Crazy Sexy Diet.”

It takes one to know one.

Cure-alls are remedies that resolve all evils, cure all diseases, and restore the self. The cure for everything, the miracle panacea, is driven by a belief that the humors or the liver or the spine is the root cause of all maladies.

In the past in the West leeches and bloodletting were used to balance the four humors, while in the East needles and acupuncture were used to balance the life force. As near as today chiropractors believe something called sublaxtions block the flow of something-or-other, which when unblocked will let your body heal whatever it is that ails you. Many well-meaning but hare-brained pilgrims still believe sticking needles along chi channels makes everything better.

Cure-all approaches neglect to take into account causes of disease ranging from genetic to infectious to biochemical to traumatic to degenerative to metabolic to autoimmune, never mind all the environmental and man-made toxic things in the world.

Poison ivy grows everywhere in the United States, except Alaska and Hawaii. If you get the rash, draw hot water and find some soap, lather, rinse, repeat, wash, rinse, soak, and then go to the drug store and buy a bottle of calamine lotion. Don’t go to a yoga class. You’ll only spread the itchy poisonous stuff on your skin to others.

If you go to India, the birthplace of yoga, don’t drink the tap water. Drink bottled water instead. More than half of India’s population, more than 500 million people, practice open defecation. Most of the country’s water is contaminated by biological and chemical pollutants, which cause cholera, among other things.

Clean water and sanitation prevent cholera. No known yoga pose or sequence or mudra has any effect on its spread. It is endemic because the water is foul, not because you haven’t read “Yoga Cures.” Oral rehydration solutions, when promptly administered, treat the disease easily.

As good as yoga is as a mindset a practice and a way of life, it is not the cure for much, certainly not cardiovascular disease, stroke, diabetes, cancers of any kind, multiple sclerosis, epilepsy, asthma, or gallstones. It doesn’t matter whatever it was Bikram Choudhury ever said. He is a liar. If you’ve got stones either take a wait-and-see approach, hoping the stone dissolves or dislodges, or join the nearly one million Americans who annually get their gallbladders surgically removed.

You need a tripwire gallbladder like you need Bikram Choudhury feeding you baloney..

If you have cancer of any kind it would be best to ignore Dr. Joel Brame, a self-styled Cancer Prevention Consultant, when he professes that yoga can reverse cancerous tumors. He seems to believe that exercising in a Hot Room oxygenates the blood “creating an environment in which cancer cannot grow,” restores the immune system, and generally purifies the body, which in his world is good because cancers can only metastasize in a toxic body.

“Attend your yoga class on a regular basis and feel the magic happen!” he said.

Black magic, maybe, when hell freezes over.

Until that happens, sitting around in the waiting room, it would be worth anyone’s while to page through Timothy McCall’s “Yoga as Medicine: The Yogic Prescription for Health and Healing.” A board-certified physician who has long practiced Iyengar Yoga and has been the medical editor for Yoga Journal since 2002, he describes yoga therapy as “a systematic technology to improve the body, understand the mind, and free the spirit.”

“Yoga as Medicine” is largely a practical guide about how to use therapeutic yoga tools, from exercise to meditation, as complements and occasionally alternatives to medical care and medication. It’s about getting in tune with your body, which is what health is all about. It’s about being aware, staying aware, staying in tune with beware.

Yoga therapy doesn’t treat the disease, exactly. It treats the person who has the disease. It’s about learning ways of making and maintaining body mind spirit health.

Gary Kraftsow of the American Viniyoga Institute describes yoga therapy as a practice to help people “facing health challenges at any level manage their condition, reduce symptoms, restore balance, increase vitality, and improve attitude.”

He doesn’t blare, blare, blare on and on about cure, cure, cure. Brenda Feuerstein has pointed out that it might be more helpful if the practice was regarded as something that “may be helpful in the treatment of something, but not yoga cures.”

Well-being is often the result of practicing yoga on a consistent basis. Yoga therapy isn’t a cure for acute conditions, but it is an aid in treatment and augmenting clinical care. Georg Feuerstein believed it was a way to integrate yogic techniques and concepts with medical know-how.

The difference between Snake Oil Yoga and Therapy Yoga is that one sells what purports to work for everybody while the other teaches what is appropriate to the individual and respects the differences in different people. Snake oil men shoot magic elixir bullets. Yoga therapists try to gauge the capacity and direction of mind of the person before they draw any conclusions. They don’t quick draw. They don’t try to kill anyone with cold-blooded make-believe kindness.

Why does it matter?

In the British art critic John Berger’s TV series “Ways of Seeing,” broadcast at about the same time that today’s yoga came around the bend in the early 1970s, he argued that where when and how we are directed to look at something, to pay attention to it, determines what we see. How something is framed often makes what matters, and what doesn’t matter.

When we pay attention to snake oil salesmen we get sucked down into their wormholes. It becomes believing what you want to believe, the easy answer, one size fits all. When we practice yoga therapy there is no rabbit in the hat, just a lot of work on the mat, day after day. It’s not the easy answer. There have long been and still are plenty of mad hatters and carnival sandbaggers trying to pickpocket the out-on-a-limb with their cooked-up promises.

Don’t drink the Kool-Aid. Don’t drink the brightly colored tonic water spiked with raw profit motive. There’s no yogi genie lightning in a bottle.

Yoga never was and never was intended to be a cure-all for ill health. “We must all pay attention to your health first, but we must not forget that health is only a means to an end,“ said Vivekananda.

“If health were the end, we would be like animals. Animals rarely become unhealthy.”

How the practice of yoga can effectively help those in need is being brought to bear by men like Sat Bir Singh Khalsa, an Assistant Professor of Medicine at Harvard Medical School, not the flimflam men of the internet and cunning analytic advertising. Dr. Khalsa’s research focuses on the clinical effectiveness and psychophysiological mechanisms underlying the practice of yoga and meditation techniques.

His approach advocates yoga as a way of enhancing proprioception, the awareness of where you are in space, and interoception, the awareness of the sensations of your body in space. He believes awareness is what changes lifestyles, and since many diseases are lifestyle diseases, brings the commonness of those diseases under control.

“People change their diets,” he said. “They change their behaviors to ones that make them feel better, because now, for the first time in their lives, they’re actually feeling better.”

It is feeling better, not by staring down to the bottom of a bottle of snake oil, but rather straight ahead in cobra pose, firming the shoulders against the back, lifting through the top of the sternum. It’s not a song and dance. It’s not a skin game hustle. It’s not a bill of goods, but rather a bill of fare from the inside out. It’s a message in a bottle.

When Vivekananda stepped up to the stage at the World’s Exposition in Chicago in 1893 it was one small step for a man. Thankfully, there weren’t any drips globs greasy ointment or snake oil left behind by the Snakeman on the stairs to slip up the small man from India. Otherwise, the big step that was ultimately taken that day might never have happened.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Down the Bay Boys

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By Ed Staskus

“I’m going up the country, babe, don’t you wanna go…”  Canned Heat

“We’re always around here,” said Denver McCabe, casting a glance over the chairs and tables on the deck on the sparkling summer water.

Carr’s Oyster Bar is on the New London Bay, in Stanley Bridge, on Prince Edward Island, the Atlantic Canada province where Canada happened about 150 years ago. Opened in 1999, from the deck, kicking back with a pint on a warm day, you can see the wharf across the bay where oysters are landed.

They’re shucked when you order them, served with a fresh lemon slice, or you can order clams mussels quahogs. Last year the restaurant won the Restaurants Canada Shellfish Excellence Award. “I’m happy to showcase the best shellfish in the world,” said Phyllis Carr.

Whenever she slides a sharp knife into an oyster and pries it apart at the hinge “it’s the best one ever.”

“He was a bold man that first ate an oyster,” said Jonathan Swift.

Life is too short to not have oysters. But, they are best eaten with friends family anybody somebody else. Although oysters keep themselves to themselves, they’re a weird thing to eat by yourself.

Native North Americans harvested them for thousands of years. In the 19th century New York City was filled with oyster saloons. Today no oysters anywhere taste as good as those found on the north shore of PEI.

Denver McCabe and Brenden Carr are ten-year-old boys born and bred on Prince Edward Island. Until recently both lived in Stanley Bridge, a small town of fewer than 300 on the north central coast of the island on the Gulf of St. Lawrence.

“He swarms me when I come home from Edmonton,” said Denver. “I go to his house every day.”

They have spent all of their summers on the bay, along the Stanley River, and making the scene daily on the deck of Carr’s Oyster Bar. ”We grew up together,” said Brenden. “He’s my best friend.”

You can’t Madison Avenue anybody to be your best friend. Denver and Brenden have known each other since they were anklebiters. What do you do with your best friend when you’re both ten-years-old? A good time doing a whole lot of nothing, eyeing and gabbing about everything, cruising doing me, making fish faces, making mischief, making your summer jump, and jumping rocks.

“Most of the time we go on the rocks,” said Denver. “That’s how I get my energy up.”

The riverbank and along the shoreline are protected by piled rocks, riprap revetments.

“We go to my house and play on the trampoline, too,” said Brenden.

“I do flips,” said Denver. “I know how.”

“On the rocks we do hard core technical stuff. We jump rock to rock. He challenges me,” said Brenden.

“Sometimes I jump from one rock to the third one,” said Denver.

“So do I. I never fall down.”

“Me neither,” said Denver. “The other day I fell. Did I fall?”

“Unless you were faking me,” said Brenden.

Even though they aren’t yet preteens, they talk like old friends, the same as thinking out loud, their thoughts like toppings that can’t always be fathomed into a pizza.

“I fell once or twice, probably. It was because I jumped from one rock to a far, far one. I just got back up.”

Many people do all their playing when they’re children, all their working when they’re grown up, and all their retiring when they reach old age. When you play, no matter how old you are, you can be a kid as long as you want. Just watch out for the rocks.

“He jumps off the bridge,” said Brenden.

The Route 6 main street bridge crosses the Stanley River at the New London Bay. On one side of the bridge is Carr’s Oyster Bar and on the other side of the bridge is the Race Trac gas station and Sterling Women’s Institute community hall. Jumping off the bridge thirty feet into the bay is summertime chill in Stanley Bridge.

“We go to the bridge and tell them to jump, hurry up, don’t be scared,” said Denver. “I did it when I was eight. They’re teenagers, but they’re scared.”

“They never jump when we tell them,” said Brenden.

“I jump with my crush, Jess,” said Denver. “She’s a waitress here at Carr’s.”

“She’s my crush, too.”

“I got engaged to her,” said Denver.

“Me, too,” said Brenden.

“Whenever we tap our cheeks she has to come over and give us a kiss on the cheek.”

They tapped with their index fingers, the both of them. They’re not shy on their home turf on the Stanley River. They believe in their flyness.

Jessica Gillis, twice their age and more than a foot taller than the boys, walked over to where they were warming seats at a table on the deck on the bay eating nachos and sipping from childproof Shirley Temples.

They looked up. “Oh, my God, now what?” said Jessica, looking down at them. It was like ‘The Attack of the 50 Foot Woman’.

They tapped their cheeks again.

“No,” she said.

Even though both boys are in love with Jess, they don’t actually hang out with her. It’s not complicated. Most boys don’t like girls hanging around when they’re doing their own boy things.

“I never jump the bridge,” said Brenden. “I can’t swim.”

“I learned when I was four,” said Denver.

“I took lessons for a year,” said Brenden. “But, I don’t like people bossing me around.”

“It’s kind of weird because he lives right beside the water,” said Denver.

“I almost floated away one day,” said Brenden.

“It was a windy day and it blew his splash meter away,” said Denver. “He was trying to get it back, but the wind blew him away, too.”

“I floated to where it was just to my cheeks.”

“He needed my help, but I couldn’t swim fast because there were oyster traps everywhere.”

“My brother and dad were there, but then they went on their boat,” said Brenden.

“He stayed in the water and it became fine,” said Denver.

Brenden’s father David Carr is an oysterman. “He has his own boat,” said Brenden. “He catches eels, too. When he goes eel fishing he goes with his brother Stan.”

Eels are nocturnal, hiding during the day. Fishermen hunt them at night. Few fish put up the fight that a good-sized eel does. An eel held by the tail is not necessarily caught, yet. They can swim backwards as well as forwards.

“We went to the sand and I got a bad, bad sunburn,” said Brenden.

“Same with me, on the same day.”

“Yeah, but mine was worse.”

“That’s why you didn’t catch Jacob.”

“He’s sketchy,” said Brenden, making a face.

“He said my friends run away because of my ugly face. That pissed me off. I ran after him and pushed him. He ran to the park where there were booths being set up for Canada Day and got under one. I couldn’t bend down because my back was burnt from the sunburn. I would have given him a big one.”

After his sunburn got better Brenden had an airbrush tattoo of a barcode stencilled across his chest. It was at the Canada Day parade festivities concert fireworks day in nearby North Rustico. “It’s because I’m funny talented a good actor good singer good dancer and handsome and beautiful.”

Denver had a red maple leaf tattooed on his cheek. “I’m hot,” he said, looking out from under the brim of his bright orange Bass Pro Shop baseball cap.

“When I walk into a sauna I make it even hotter.”

“Dreams, Denver, dreams,” said Brenden.

Trying to tag along with the stream of consciousness of ten-year-olds can be like trying to play putt putt during an earthquake.

Lucy Maud Montgomery, who grew up on PEI and wrote “Anne of Green Gables” a hundred-or-so years ago, wrote that Stanley Bridge “used to seem quite a town to my childish eyes. It was the hub of the universe then – or of our solar system at the very least.”

“Brenden and I are cousins,” said Denver.

“My great-uncle, Granny Phyllis’s husband, is his grandfather,” said Brenden. “Phyllis was my cousin before she married, so I’m related to Denver both ways.”

“My grandpa is a Carr and Granny Gallant was a Doiron before she changed to Gallant,” said Denver. “Everybody in Granny’s family was a Gallant. My grandfather was Tommy Gallant. He found the Marco Polo. He’s famous on the island. He’s famous in heaven now.”

“He’s my great-uncle,” said Brenden, “I took dancing from him.”

Given enough time and left to their own genealogical devices they would likely conjure everyone on the island a cousin in the 9th degree, and discover a common ancestor in steerage on the St. Jehan, one of the first passenger ships sailing to the New World back in the 1630s.

“We’re from here,” said Suzanne McCabe, Denver’s mother.

“Cory, my husband, is from Rustico. We moved to Edmonton for the work. My grandmother and Brenden’s grandmother are sisters and my dad and his grandfather are brothers.”

The first explorers to land on PEI were the French, who called it Isle St. Jean. They fished for cod and traded for furs. The first settlers were Acadians. After the Seven Years War it was re-named Prince Edward Island. Scots, English, and Irish emigrants sailed to the British colony and built their own close-knit communities. Doirin and Gallant are Acadian surnames. McCabe and Carr are English Irish Scottish surnames.

Most Acadians are bilingual, but nowadays some speak English with a French accent, even though, for one reason or another, they no longer speak French.

“When I wake up I go on my phone, track what time it is, eat breakfast, and brush my teeth,” said Denver.

“I don’t have a phone. Sometimes I have your phone in my pocket,” said Brenden.

“It’s dead,” said Denver.

“I was cranky this morning. My brother woke me up early. I usually get up at six, but there’s no school anymore,” said Brenden.

Denver and Brenden help out at Carr’s Oyster Bar peeling potatoes and washing windows.

“I do everything,” said Denver.

“I help my father get fish,” said Brenden.

“Me and Brenden used to go to the sand dunes and collect hermit crabs,” said Denver. “But, he hasn’t come to his job, the last time was a year ago.”

“Me?”

The most freedom most people ever have is when they misspend most of their free time as children.

“More than a year ago, actually.”

“I don’t know about that,” said Brenden.

“You’ve never come since you handed out menus and got no money.”

“I got paid five dollars and I got another five dollars when you won the 50/50.”

“Oh, yeah,” said Denver. “My aunt is religious and prayed to win the 50/50. When she did she gave me some of it and I gave some to him.”

“Do you remember when I peeled the carrots in the shed?” asked Brenden.

“Look at my muscles,” said Denver, flexing a bicep.

“You don’t have any.”

“I definitely feel something on my arm. What do you think this is?” said Denver, pointing.

“Is that like a pimple?” asked Brenden.

Denver McCabe is an aspiring hockey player in Edmonton, Alberta, playing for the Mellwood Icebreakers. “I might go to Double A soon,” he said. “It depends on how good I am. My team wasn’t good. They wouldn’t pass the puck, so I was the one who had to pass the most.”

Brendan Carr has studied judo and plays ball hockey. “On my own time, not with a team,” he said. “I played soccer, too, once.”

The kicking heading game is beyond the pale for some. They believe if God had wanted boys to play soccer he wouldn’t have made them with arms. Brenden is a step dancer, like soccer got done sans hands.

Step dance is a dance style in which footwork is by far the most important part of the performance. At ceilidhs in community halls across Prince Edward Island it is accompanied by toe-tapping fiddle tunes. Children often learn it at an early age.

“Tommy Gallant taught me,” said Brenden.

“But, I mostly taught myself. I was in a class for a year and then I watched and followed Robbie, who’s my uncle. I dance at all of my Uncle Leon’s music shows at the hall. I don’t dance at every one of his concerts, just every one when I’m there. I’ve never been to one since I was four-years-old that I haven’t danced up on stage.”

“I never get called up on stage,” said Denver.

“That’s because you never ask,” said Brenden.

“I asked Leon once, he said yes, but he didn’t even call me up.”

When they’re not jumping rocks, step dancing, or trying to cadge kisses from waitresses, they spend some of the summer at summer camps. Denver goes to a Bible camp in Malpeque and Brenden goes to a rock-n-roll camp in Charlottetown.

“My first son slept in a surplus Canadian Army tent,” said Suzanne McCabe. “He never went back to camp ever again.”

“Denver doesn’t like rock-n-roll,” said Brenden.

“We were all at the beach, everybody had matching towels, somebody went under a dock, and there they saw a rock, it wasn’t a rock, it was a rock lobster, rock lobster, rock lobster…”

“I only like pop and country,” said Denver.

“Ain’t much an old country boy like me can’t hack, it’s early to rise, early in the sack, thank God I’m a country boy…”

Brenden probably wouldn’t mind being the lead guitarist in a wildly successful band. He has a guitar. But, he doesn’t play it. He sings. “I do like to sing,” he said. “I only get nervous when I have to sing in front of my friends.”

“KISS is the worst band ever,” said Denver.

“I listen to KISS a lot,” said Brenden.

When Canada Day finally got dark on July 1st and they craned their necks to watch fireworks exploding over the North Rustico harbor, Denver and Brenden still had nearly two more months of summer to spend in Stanley Bridge before going back to school.

It’s only when you’re still a kid and the long summer is stretching out in front of you that doing practically nothing all day becomes respectable.

“Are you going to the barbeque?” Brenden asked the next day.

“I’ll probably go with you,” said Denver. “Where is it?”

“It’s right here. Stanley Bridge is a wonderful place. I can see trees and the church from our kitchen window,” said Brenden.

Right here is the hub of the universe, re-mixed.

“I like the water. I like walking in it. Everyone should come to Carr’s Oyster Bar, where we are, sometimes, when we’re around here, if you live close,” said Denver. “It’s beside the main road.”

Water is always trying to get back to where it came from.

“Believe it, have fun and love life,” said Brenden, with a chuck of the head over his black sleeveless t-shirted shoulder, as he and Denver ran off opening the flyness throttle keeping their energy up jumping rocks, dashing off plans for the rest of the summer. 

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Breathing Room

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By Ed Staskus

If you can breathe, then it’s working.” Lemony Snicket

Many actors swear by yoga, from Matthew McConaughey to Naomi Watts to Robert Downey, Jr., because acting is largely a movement art and yoga on the mat is mostly about body awareness. Unless the role is Frankenstein or you’re Vin Diesel, more wooden than a talking tree isn’t usually in the script.

When Russell Brand dedicated himself to Kundalini Yoga he said, “these things are right good for the old spirit.” Gwyneth Paltrow wakes up every morning at 4:30 to practice, according to People Magazine. “It kind of prepares you for everything, honestly,” said Jennifer Aniston.

God knows, Iron Man could use all the yoga he can get.

Rock-n-Roll Hall of Fame superstar dancer singers plug in to the practice, too. Madonna has unrolled her mat down the aisle of jumbo jets. The spectacle of the Queen of Pop in down dog pose is worth the plane fare, given that the average ticket price to one of her shows is upwards of $400.00.

Even though yoga is great for mobility stability control, it doesn’t always work out according to plan. When the singer Rod Stewart was trying a beginner’s balancing pose at home, he lost his balance and fell into a fireplace. “Surely, if God had meant us to do yoga,” he said afterwards, ”he’d have put our heads behind our knees.”

Not many yoga teachers swear by acting. They usually swear about you not being your authentic self, pretending to be somebody else. One of the eight limbs of the practice is all about self-observation. In some respects all of the practice is designed to be an expression of your true self.

Bryde MacLean, a native of Prince Edward Island, an Atlantic Canada province, is an actor and a Moksha Yoga teacher. Two Canadian teachers founded the practice in 2004, focusing on strength, therapeutic flexibility, and calming the mind. It is in the vein of hot yoga, although not as hot as Bikram Yoga, nor as rigid in its sequencing.

“It’s built with the long-term health of your spine in mind,” said Bryde.

Moksha Yoga, which means freedom from the cycle of death and rebirth, is environmentally active, one of its pillars of purpose being ‘Live Green’, and active in its communities, as well. There are more than 70 studios, most of them in Canada. They offer weekly karma classes with all the profits, currently more than $3 million, going to groups supporting human rights and holistic health.

“I was 21-years-old, working in a bar, hanging with my friends, having a lot of anxiety”, said Bryde. “Ryerson University had turned down my application. My sister recommended yoga. I had never taken a class in my life. Tara was dating Ted Grand, and he recommended it, too.” Ted Grand, her future brother-in-law, was at the time creating what became Moksha Yoga.

Bryde MacLean took her first class in the basement of a church in Charlottetown, the capital of Prince Edward Island. “It was myself and a bunch of women who were much older than me, in a definitely not heated space. We did lots of slow breathing and long stretches. It was a powerful experience. I decided I could get behind that.”

When Ted Grand offered her the opportunity to join his team and go to Thailand for yoga teacher training, she made sure she didn’t miss the team bus. “I wanted to travel and I wanted a skill I could travel with. I jumped right into the hot room. I loved it.”

She taught full-time in Toronto for a year before moving to Montreal, where she also taught, as well as attending Concordia University. “I had a full course load, but I wanted to study what I’m passionate about, so I applied to Ryerson again, and got in.”

Ryerson is a public university in Toronto, its downtown urban campus straddled by the Discovery District and Moss Park, focusing on career-oriented education. Bryde Maclean enrolled in the 4-year Performance Acting program. Long before she wanted to be a yoga teacher she had wanted to be an actor. She was scripting performing directing shows from the time she was six.

“We’d haul out Halloween costumes and my parent’s old clothes and dress up. We’d write fantastical stories and use construction paper to build our sets.” She and her friends play acted in garages, attics, and basements. Her parents encouraged her.

“They inspired me.”

Her parents were Sharlene MacLean and Bill McFadden. Her mother was pregnant with Bryde the summer of 1984 at the same time she was stage-managing ‘Blythe Spirit’ at the Confederation Centre in Charlottetown. As an actor Sharlene MacLean has played the maniacal Lady MacBeth in ‘Macbeth’ and the prattling Minnie Pye in ‘Anne of Green Gables’, working on stage and on film, working around the births of her four children.

Her father worked and performed long and often at the Victoria Playhouse. Victoria is a seacoast village on the south shore of Prince Edward Island. “I spent a lot of time in that theater as a little person,” said Bryde “My dad and I lived in the building down the street that is now the Chocolate Factory.”

Her parents played the aging couple in ‘On Golden Pond’ in 2012 at the Victoria Playhouse. They had both starred in ‘The Owl and the Pussycat’ during the theater’s first season in 1982, thirty years earlier. “I had never seen them on stage together, not as an adult,” said Bryde.

By the time she graduated from Ryerson University in 2011 she was teaching other people how to be yoga teachers. “I didn’t know what I was doing when I started, other than enough about teaching classes myself and being a good listener,” said Bryde. She became Manager of Yoga Teacher Trainings for Moksha International for 3 years.

“I dove into that. There’s a big community vibe. It pushed me to learn how to do things I didn’t consider myself capable of.”

2011 was a big year in more ways that one. She graduated with a BFA, got a full-time job, and got married, too. Jeremie Saunders, her boyfriend fiancée husband-to-be, was in the same class in the same program in the same university as her. One thing led to another. After graduation he trained to become a Moksha Yoga teacher.

“So, there we are, we do all the same things,” said Bryde.

They do all the same things, but with a difference. Yoko Ono once said the most important thing in life was, “Just breathe.” When Bryde wakes up in the morning she breathes free and easy. When her husband wakes up in the morning it’s with the thought, at least I’m still breathing.

Born with cystic fibrosis, Jeremie Saunders is in a lifelong fight with the inherited life-threatening disease. It is a genetic disorder that mostly affects the lungs. Infections and inflammation lead to a host of problems. 70 years ago, if you were born with it, you were likely to die within the year.

Even today, while cystic fibrosis has been made livable, there is no cure. No matter exercise regimens treatments antibiotics, median survival is less than 50 years. “I’m living with this terminal illness,” said Jeremie. “I know that my life expectancy is significantly shorter than most people.”

Two years ago he ran an idea for a new podcast by two of his friends. A month later they recorded their first episode of ‘Sickboy’. The podcast is about the day-to- day of living with an illness. Four months later it officially launched and three months after that it was included on iTune’s Best of 2015 list.

Although it is the essence of innovation to fail most of the time, when time is of the essence it’s better to succeed as soon as possible.

“It’s a comedy podcast,” said Bryde. “It’s laughing about the absurdities that happen when you’re sick, all the embarrassing and difficult things people usually don’t talk about.”

“I’ve always been a fan of honesty,” said Jeremie. All good comedy comes from a place of honesty. He doesn’t try to keep the beach ball underwater. “Every time I would talk to someone about being sick, this fog of awkwardness would fall over the conversation. It’s empowering to drop that, let it go, and not feel confined or chained down by your circumstance.”

Living in Halifax, Nova Scotia, teaching Moksha Yoga, co-starring in short films by Tiny Town Media, in early 2015 Bryde spied a last minute casting call for a summer show in Charlottetown. “I was lucky to see that.” She landed the role of the mom in ‘Hockey Mom, Hockey Dad’ in the Studio 1 Theatre at the Confederation Centre. She and the show were a hit. “Sets, characters, director score a hat trick,” wrote The Guardian in its review.

“Bryde MacLean says much with her guarded, often wordless reactions, like a smile tucked into her shoulder.” It was her first professional appearance on stage.

When actors unroll their mats it’s to learn to control movement. It helps them be more aware of where their physical bodies are in space and the dynamics of change in that space. “Yoga helps me get very present with my body and what’s going on with it,” said Jennie Olson Six, who is, like Bryde MacLean, an actor and yoga teacher.

It also helps develop command over one’s breath. But, that kind of command can be a double-edged sword.

“Yoga helps, definitely, as an actor But, I think in some ways, because I did my yoga training before my actor training, it has hindered me.”

Actors practice breath control so that they can manipulate the range, volume, and speed of their speaking. They might breathe in to the count of four, just like in yoga classes, but when they exhale they do it through their teeth with an sssssss sound. When they come back to four they cut the exhale crisply. It’s a way of practicing ending speech on an exact syllable, making it toe the mark.

When it doesn’t, sometimes actors will flap their lips, making a brrrrrrr sound.

“When you breathe in yoga it’s to create a steady, measured breath, focusing on it, calming your nervous system,” said Bryde. “You don’t want that when you’re acting. You want your breath connected to your voice. When you breathe to speak you want your breath to come from a place that’s connected to your impulse. Yoga is about observing your impulses, but not reacting. Acting is reacting.”

In Shakespeare’s day acting was called a performance of deeds. It’s the same today. “Acting is reacting in my book,” said Morgan Freeman. Where actors want to go in their work, even though they’ve walked through it a hundred times, is to express feeling by following an instinct, not by controlling it. Magic on film and stage is created, not by staying in the rehearsal hall, but by being in the moment.

“You need to have a cool head, however, not get caught up in whatever you’re working on, and go off into another dimension and never return,” said Bryde.

“Yoga has been good for me in terms of focus, my ability to concentrate, and be able to handle my anxiety. It keeps my feet on the ground. It rebalances my body, too, which is the only thing I have to work with.”

While at Ryerson University she played King Richard the 2nd in a student production. “He’s a hunchback, crooked. After two hours of him every day I had to balance out that side of me. Maintaining a healthy body is a super important thing for a performer. Otherwise, you end up with injuries.”

She went back to her roots in 2016, appearing in ‘Blythe Spirit’ at the Watermark Theatre on Prince Edward Island. It was her second professional appearance on stage. It was the same show her mother managed on the same island thirty-two years earlier when she was carrying her daughter-to-be. If anyone was ever born to play one of the leads in the Noel Coward play it was Bryde MacLean.

That same summer her husband starred in the comedy ‘The Melville Boys’ at the Victoria Theatre, the theater she had roamed explored left no stone unturned as a tyke. The Watermark Theatre seats about a hundred people. The Victoria Playhouse seats about fifty more than that.

Spectacle sells, splashy musicals, casts driven by stars. But, small gatherings at indie theaters can have a big impact. Little theaters, summer stock, some in your own backyard, often have big talent. “Bryde MacLean has probably the most difficult role to play – the straight woman – and she carries it like a pro,” wrote theater critic Colm Magner. “She has great fun combusting before our eyes later in the play.”

“I love small, intimate performances,” said Bryde. “I like to be right in there with the audience.” It works for her because she often works in film. “I tend to be a little smaller in my performance size. You can do the subtlest things, so subtle, but so real.”

She kept up her practice all summer at a Moksha studio in Charlottetown, taking bar classes, a mixture of ballet, pilates, and yoga. “I love it, but it kicks my butt.”

There are many reasons people take up yoga, among them stress relief, flexibility, and physical fitness. “They come to yoga to get a cute butt, but you can’t escape all the other benefits of it,” said Bryde. “They stay because they get more mindful, awake, in touch a little bit more.” If they stick with it, the reasons for doing yoga change. The focus shifts from the physical body to the subtle body. Almost 70% of people and 85% of teachers say they have a change of heart over time, changing their focus to self-actualization and spirituality.

“Their buns still get really tight,” she added with a teacher’s keen eye.

After ‘Blythe Spirit’ closed Bryde worked on a 5-week shoot of a horror film called ‘But What Are You Really Afraid Of’. She wasn’t an actor in a trailer waiting to be called for her next scene. She was one of the workers who serviced the trailer. “A craft services job takes care of all the food on the set, the crew that does the dirty work,” she said. “It’s not for the faint of heart.”

Although she continues to teach Moksha Yoga in Halifax, and continues acting, on stage and film, she is writing a screenplay for a feature film, producing a play she hopes to get on the road in 2018, and has launched another new podcast with her husband.

‘Turn Me On’ is a show based on sharing the couple’s sex life with others through interviews, candid conversations, and discussions about sexual orientation. “I don’t need crazy shock value to be interested,” said Bryde. In any case, guests on the podcast are free to talk about their sex lives “whether they’re whacky or not.”

“We are definitely having conversations that feel taboo,” said Jeremie Saunders.

Franklin Veaux, an author and sex educator, believes that what Bryde and Jeremie are doing is doing their audience a good service. “Sexual shame undermines people’s happiness and self-esteem, prevents them from being able to understand what they need and advocate for it and hinders intimacy,” he said.

Although ‘Turn Me On’ is not necessarily about heavy breathing, sex has always been a bestseller. It is often more exciting on stage and screen than it is between the sheets, but it is still emotion in motion, and a big part of nature and human nature. “I couldn’t have imagined we’d have over 12,000 listeners so quickly. It’s very cathartic for me.”

If it is about anything, yoga is about slowing down, slowing down your breath, your body, and your brain. It’s been said once you slow down you will connect with your heart. As many irons that Bryde MacLean has in the fire is enough to take your breath away.

“I wrestle with attachment and detachment,” she said.

Although detachment is a linchpin of yoga, nobody ever sincerely does it without a strong feeling of attachment to doing it. Almost everything we do is invented, so that detachment can be a kind of freedom. But, getting on the mat or breathwork or meditation is about involvement. Pattabhi Jois, who created Ashtanga Yoga a generation ago, on which most of today’s yoga is based, once said it is 99% practice and 1% theory. ,

“Lazy people can’t practice yoga,” he pointed out.

The way to get started is to get going get doing, opening doors, working hard at work worth doing. “I’m casting a net out for a bunch of potential opportunities. What matters is doing what you’re passionate about,” said Bryde MacLean.

Not much is ever accomplished without energy and passion, but to get anywhere you have to act it out.

“When you are inspired by some extraordinary project all your thoughts break their bounds and you discover yourself to be a greater person than you ever dreamed yourself to be,” said Pattabhi Jois. “Just do and all is coming.”

Catching your breath will take care of itself.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Out on a Limb

By Ed Staskus

I found myself tagging along to yoga in the first place because my neighbor Vera had started taking classes. Vera told me she was stiffening up. She was dropping in to the neighborhood studio because her husband Frank had taken classes for a long time.

“He said he went to yoga because he’s a counterculture kind of guy, even though yoga is a 5,000-year-old culture, and everybody does it nowadays, anyway,” said Vera. “Besides, his lower back hurt.”

Yoga never fixed his back, but Vera said he still gets on his mat every day, although mostly at home now.

I meant to start right after the New Year, but with one thing and another didn’t take my first class until the first week of February. February is the month I was born and the same month and year the Beatles first number one hit “I Want to Hold Your Hand” hit number one.

Vera picked me up and we drove to the yoga studio across the bridge in Rocky River. She didn’t hold my hand walking through the front door, not that I wasn’t nervous.

The owner of the yoga studio was teaching the beginner’s class. We all had to say our names and then tell a story. “Tell your story,” said Lindsey. I had no story. “Oh, my gosh!” I said. What story do I have? I thought. “My name is Liz Drake and Frank Glass is my friend’s husband,” I said, pointing to Vera.

Lindsey started laughing. “He’s the funniest guy I’ve ever met,” she said.

What? I thought. There are lots of funnier people than Frank, but since Lindsey was smiling up a storm I didn’t say anything. She was a good teacher, but I had no idea what was happening. I had no idea we had to go into poses. I had nothing. I didn’t know anything about yoga.

I had never done it, never seen a class, only a few minutes of it on TV. I had some idea about the mats, but no idea about the blocks and straps.

I thought it was going to be easier than what it was. You’re just stretching, right? We had to sit there, had to close our eyes, breathe, and I thought, is this what it’s going to be like? This is going to be easy. But, then you start doing poses. My God! It was a lot harder than I thought it was going to be.

I didn’t realize it, but I thought everyone was there for the first time, just like me. When we told our story I should have added I had never done yoga before. I forgot to add that. I had no idea what I was doing. Lindsey would say do this, do that. She had names for all the poses. What is that? I thought. What? I looked around, trying to do it, although I felt I was goofing on everything.

Although everyone else looked like they knew what they were doing, I didn’t even know what downward dog was. It was like when my Israeli ex-boyfriend-to-be convinced me to take Hebrew lessons. He said it was a beginner’s class for people who didn’t know Hebrew, but when I got to the class everyone was speaking Hebrew.

All during the yoga class I pretended like I was on the right track. I didn’t want to look like a total beginner. Lindsey would say, now everybody do this, go into this pose, and everybody would do it. I didn’t want to look like a total beginner, but I didn’t know what I was doing.

After some classes with Lindsey I started going Sunday mornings. Gina was the teacher. The room was always filled with incense at eight in the morning and we had to do weird breathing exercises. I thought I was going to pass out. Maybe I should fake it, I thought. I’m going to pretend I’m breathing, but I’m not going to, because I’ll get dizzy, get flashbacks.

“Pull it up from your core,” she said. Where is that core? I wondered. I never understood what that kind of breathing meant. It didn’t feel natural. Gina seemed to think we had to breathe differently to do yoga.

I liked Gina, but one morning I said I felt like I was doing most of the poses left-handed.

“I don’t even know the names of them. I just look around and hope I can copy somebody.”

“Oh, no, not the D word,” said Gina.

“What? What D word?”

“Discouragement.”

Everybody in the class was so sincere, so serious. They dressed like yogi people with their yoga costumes, special clothes, while I wore a t-shirt and sweat pants. At the end of class we sat cross-legged while Gina told us to imagine drifting down a river, putting all our bad thoughts on a leaf, and then letting the leaf float away. What are you talking about? I wanted to ask.

I moved on to a Tuesday beginner’s class with Tracy. It was at night right after a hot flow class. While we waited in the lobby to go in they were coming out completely drenched. Pools of sweat water were everywhere on the wood floor when we walked into the yoga room. You had to dodge around the pools.

Tracy was good at teaching us the actual poses. She took her time, walking around to help us all, although sometimes I would be in a pose waiting and waiting for her to get to me. I learned every pose as perfectly as could be since she was into perfect alignment.

One day there was a big guy who came to Tracy’s class. He was wearing funny plastic pants. Our class was usually mostly women. Sometimes there might be a guy or two, but after one or two times you never saw them again. Before we started, the plastic pants man said, “This is easy.” Once the class began he started sweating to death. He’s never coming back, I thought.

I never saw him again.

I never sweated, although I drank a lot of water.

I liked the crazy twists, for some reason, but standing on one leg was hard. I don’t have good balance because I can only see out of one eye. Whenever we did balancing poses the picture I got was, I’m going to fall down!

By the middle of summer I was ready to move up the yoga ladder. Tracy told me I should try Monica’s’s Basic Hatha Flow class. I bought a thicker mat. It was great for my knees. Some of the poses are hard on your bones, but that’s what you have to cut your teeth on. At least, that’s what Monica said.

She was tough, almost like a man, but I went to both of her weekly evening classes for five months the rest of the year. Most teachers had a soft voice, but Monica’s was never that soft. It became my main class, even though I dragged myself there. The whole drive to the yoga studio, even though it was only a few minutes, I would complain to myself. She’s going to come and push, she’ll walk around looking for me, I thought. She would push you down, sideways, all ways.

One time she pulled me when I was in a standing pose and I fell down. I just started laughing. You don’t want to be the center of attention, but I couldn’t stop laughing.

She made us hold poses incredibly long until my legs would burn and shake. I remember my thighs burning. I couldn’t even control them.

“What’s wrong with that, that’s good,” she said, “It’s good that your legs are shaking.”

I kept going back. She was top-notch.

One day she stood behind me and pulled my shoulders.

“How does that feel?” I started laughing, thinking, are you kidding me? Go to somebody else.

It didn’t feel good. But, it was a good pain. I liked being stretched.

A small man came to class and acted like he knew everything. “I’m doing this really great, aren’t I?” he said. But, he was just jumping around, moving fast. Afterwards he asked Monica about taking a more challenging class. “You have to be careful, basics would be best for the time being,” she said.

He wouldn’t listen, even though it was Monica telling him what for.

He had heard about Ashtanga Yoga and that’s where he went. I remember thinking, OK, buddy, you’re almost twitchy in this class, sweating, crawling out of the place. The next time I heard about him was when a story went around about a newcomer to the Ashtanga Yoga class who fell and cut his head and had to get stitches.

I was laughing.

Monica was the kind of teacher you were kind of scared of. When she told us we were going to be standing on our heads, I thought we had to do it, no question about it. But, I said to myself, Oh, Jesus! I don’t even know where to start. I never stood on my head in my life. She tried to get all of us to do it, but finally said, “If you don’t feel comfortable, you can sit this one out.”

“I’m glad you said that,” I said. Until then I had been ready, even though I was scared. I just give in and do it. I found out later that standing on your head is an advanced pose.

The one advanced pose I liked was wheel, especially when Monica walked over, got her hands under my back, and pulled up. It’s so hard on your back and hands. How much can you lift yourself? I remember thinking keep your hands there, right there, that feels great.

The whole thing about yoga was that I felt great at the end of class. Otherwise, why would anyone go and do it? I felt better, felt taller, all smoothed out. You had to take the pain of doing it to feel good once it was all over. That’s why I went back week after week, even though I knew Monica was going to push, make us stay in poses until it hurt.

It was because I felt darn good afterwards.

I didn’t want to give up on it, but it was so expensive after awhile. I went for a long time, almost a year, but then I thought I could do it at home. Frank Glass was doing it at home. Vera said he practiced yoga almost every day. If he could do it I could do it, for sure.

I started, but then stopped after a few weeks.

You have to be disciplined to do yoga at home. Whenever Monica saw anybody in her class slacking off she would say, “What’s wrong with you, get going.” At home you can say I’m not doing this pose today. The next day you can say I’m tired and won’t do anything today. I finally didn’t do much for more than a month, and when spring came I started working in the yard and going for walks in the park with my fox terriers.

That was the end of yoga for me.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Cutting Dreams Down to Size

By Ed Staskus

“I want to get physical, let’s get into physical, let me hear your body talk, your body talk.”   Olivia Newton-John

There have been several religious revivals in the United States. There was one while it was still British America and another one in the early 19th century. They are called Great Awakenings, outpourings of the Holy Spirit, in other words. One sermon by Jonathan Edwards in 1741 was entitled “Sinners in the Hands of an Angry God”.

It immediately breathed new life into godliness in the colonies.

The third Great Awakening of the second half of the 19th century was centered on the rise of contemporary churches, missionary work, and an emphasis on social issues.

The last more-or-less Great Awakening happened in the 1950s, when among the post-war baby-booming moms and dads of an expanding confident Pax Americana there was a revival of interest in religiosity, especially among conservative denominations, sparking theological battles and the rise of politically powerful evangelicals.

The Great Decline began in the 1970s when prayer, church membership, and service attendance started to take a nosedive. Although most Americans still claim to believe in God, they largely sleep in on Sundays. Maybe that’s what some evangelicals mean when they talk about “Soul Sleep”.

At the same time that interest in the spirit was fading away in the United States, a practice centered on the spirit started gaining traction. It was the practice of yoga. It first appeared on the coastlines of the country, the most secular places in the land, but it was a new awakening.

Although yoga today has been mainstreamed manhandled merchandised into cute outfits twisting themselves into perfect poses and posting the results on social media, Yogananda, author of “Autobiography of a Yogi” and the man who brought the practice to the land of opportunity in the 1920s, thought it was something else.

“It is a profound science of unfolding the infinite potential of the human mind and soul,” he said. He thought the purpose of yoga was not asana exercise, even though health is an important component of the discipline, but rather union with the spirit, largely through meditation.

Yogananda wasn’t big on milk and honey. He didn’t necessarily believe cloud nine was going to be got to by wrapping yourself up in a lululemon heart opener knit wrap, the perfect light layer to wear to and from your practice. He might have thought they are great clothes, colorful and moisture-wicking, albeit tight-fitting for his plus-sized figure from a different fashion time.

The Great Decline was long in coming, set in motion by modern philosophy, questioning everything, modern ideas like agnosticism, deism, and evolution, and societal rebellion. Modern times have been trending to the secular for several centuries. It may not be true that when we stop believing in God we’ll believe in anything, but it is true we all believe in Wall Street and Main Street more than God nowadays.

The Decline of Awe also came into play in the steam age industrial age atomic age digital age. The heavens are full of stars photographed by Hubble. They aren’t portents of success or failure, victory or disaster, Heaven or Hell, anymore. Awe has been replaced by high camp comic drama self-promotion hurly-burly send-ups. The proof is in the pudding, in Facebook YouTube Twitter Instagram.

The four top social network amusement parks have almost 5 billion users between them. On the other hand, maybe 20 percent of Americans go to church on a regular basis, maybe less. The rest are on their cell phones. “Ask most pastors what percentage of inactive members they have, and they’ll say anything from 40 – 60 percent,” said sociologist Penny Long Marler in ‘An Up Close Look at Church Attendance in America’.

There are far more No Church-affiliated Americans than Catholic Americans or mainline Protestant Americans. Only evangelicals are holding their own, probably because they believe in a success-oriented culture. Or maybe because they got their own haunted house ogre elected to the White House.

When yoga was getting its legs under it in the 1970s and 80s many Americans said they were spiritual, but not necessarily religious. What they meant was they weren’t organized religious. Even though arena-style mega-churches were springing up, seeming to be bursting at the seams, the writing was on the wall.

Just when the spiritual was fading away, along came yoga over the horizon, a ray of sunshine. A new kind of post-religious spirituality was on the way to a studio near you, brought to you from the East, where all religions have their roots. Sooner or later, everything old becomes new again.

Vivekenanda got the ball rolling in the 1890s, Yogananda popularized Kriya Yoga in the 1920s, and Yogi Bhajan inspired a large following in the 1960s with his Yoga of Awareness. At their core the practices were all spiritual. However, the spiritual aspect of yoga was not sustainable in the 20th century, not in a society becoming ever more secular and materialistic.

After World War Two greed rapidly outstripped need. By the turn of the new century the United States had become the most materialistic society in the history of the world. Yoga’s ethical guidelines, behaviors like non-excess, non-possessiveness, and self-discipline, were rapidly becoming irrelevant, even as the practice boomed.

Boomers and GenX’ers are less religious and spiritual than the Silent Generation. Millennials are the least religious and spiritual of any American generation. Americans are more focused on the freedom to do whatever they want more than ever before. The sense of spirit as the gospel truth has been tossed into the dustbin of history.

The problem for the bread and butter of yoga in the 1990s and 2000s was what to do. The union of the individual self and universal consciousness wasn’t going to pay the rent. In fact, being on the side of the spirit was being on the wrong side of the balance sheet.

The solution to the problem was to go back to Patanjali, who codified the system of yoga about two thousand years ago, and turn him over on his head. Modern yoga stepped up, dropped back, and threw a spiral for a touchdown. From the perspective of Head Coach Patanjali on the sidelines, the forward pass might have been thrown backwards into the wrong end zone. But, that was neither here nor there.

It was B. K. S Iyengar to the rescue.

He wrote a book all about yoga exercise, which was a blend of hatha, gymnastics, British Army calisthenics, Indian wrestling, and alignment. “Light on Yoga” was and still is a hit. “When teachers refer to the correct way to do a posture, they’re usually alluding to the alignment Mr. Iyengar instructs and expertly models in his book,” wrote ‘Yoga Journal’ in a tribute after his death.

Since then, streaming into the 21st century, yoga has become as body conscious as it can possibly be. Five of the eight limbs of yoga have been lopped off and left for dead, leaving posture poses and breathing exercises in control. Meditation has been repurposed as mindfulness.

Mindfulness is about fully minding what’s happening, minding what you’re doing, and minding the space you’re moving through. It used to be called paying attention. The best thing about the new practice is you don’t have to sit around meditating for hours anymore.

Yoga is a practice that fills in the space between now and forever, or at least it used to. It has since expunged the forever side of things and made the now side the happening side. It was once something between the nothing that isn’t there and the nothing that is. But, times have changed. Now it’s elbow grease, and any sense of wonder is beside the point.

“I don’t believe in all that spiritual mumbo jumbo,” or words to that effect, are routinely heard in yoga studios from coast to coast. It’s like hearing not the door slamming shut, but its echo.

Yoga has become a choreographed sequence of squirming facts on a rectangular rubber mat. Nuts and bolts were once baffled by imagination, but now studio classes are full of them. Yoga used to know what facts not to bother with. Now facts are confused with reality.

When modern yoga stripped away most of the limbs of the practice it was doing what it had to do to cash in on a good thing. Physical fitness was never the purpose of yoga, but physical fitness is what most people will pay $15.00 an hour for, not instruction in the benefits of the spirit. Intangibles are not the point of gruntwork.

Who goes to a gym for enlightenment?

Before the Great Split the dichotomy was, it’s either yoga, or it’s exercise. It didn’t matter what you were doing, bicep curls or sun salutations. What mattered was the ethical motivation non-competiveness spiritual orientation and where whatever you were doing was heading. If tight buns were the goal, it was exercise. If the subtle body was the goal, it was yoga.

It doesn’t matter anymore. Yoga has become whatever you want it to be, whatever you say it is, whatever pays the best in the marketplace. Deconstructing the structural unity of the practice has become constructing the fast food drive-thru of the obvious on a bland burger bun.

When yoga studios add profit centers to their footprint – mats branded apparel props essential oils lifestyle items – it’s because they need the real McCoy to stay in business. Retail can add 20 to 30 percent to the bottom line. Trying to make money off the spiritual is like trying to give fish a bath.

Yoga businesses need to be profitable. All earnings are dependent on shoppers, since if there weren’t any shoppers there wouldn’t be any stores or studios. It doesn’t matter whether it’s the groove on the mat they’re looking for or simply looking groovy. It doesn’t matter whether shoppers want an awakening or tight buns. The customer is always right.

“The act of shopping is a form of stress release,” wrote Rebecca Kotch in ‘Managing Your Yoga Retail Space’. “Shopping within a yoga studio environment seems to be an exceptional antidote to everyday stresses,” she said.

It obviates the need for wasting your time in corpse pose, as well. It begs the question, however, whether the new yoga is yoga by another name, or is it something different altogether? Is the old yoga dead and gone? Does it matter?

“Do I believe that yoga can be imparted without being grounded in its cultural and spiritual heritage? No. Whatever that is, it isn’t yoga,” Kavita Das wrote in ‘Any Practice of Yoga That Isn’t Spiritual Isn’t Really Yoga’.

Although there is no disagreeing with the sentiment, there is no doubt Kavita Das is completely wrong. Yoga has a cultural and spiritual heritage and the practice was, within the last one hundred years, grounded in that tradition. That is not the case anymore. Yoga today is whatever most people say it is.

Even before the Great Decline the idea that we are compelled to create meaning had been crashing into the past, redefining modernity. Everybody has to create meaning for themselves and create their own outlook. Life used to be what other people said it was. Life nowadays is whatever you say it is. Hanging onto the coattails of yoga’s heritage doesn’t get it done in an age of engagement and commitment to the now.

Although it is true the present is like an egg that was laid by the past, the present is never like the past. When you’ve got the present in the driver’s seat, running the show, you control both the past and the future. What we dream up now is tomorrow’s reality.

Most yoga today is branded, delivered, and consumed in a commercial setting, and has no spiritual aspect to it. The cultural heritage of the practice has become beside the point, except for the yoga tourists who pay homage to it by going to the sub-continent on vacation. However, what they practice at the fountainhead is ironically a mostly Westernized form of the discipline.

The Great Dream of yoga used to be awareness, self-control, and higher consciousness. The way it was gotten to was by training the body and the mind. Even though teachers were helpful, neither gym nor studio memberships were necessary. The best teachers didn’t explain or demonstrate, rather they inspired. They didn’t confuse things with their names.

The next step used to be about going beyond the physical, beyond the mind, even, and straight to the spirit. Stop making sense. There’s no time for words. Feel a little more alive. Stop making sense.

Most modern practice, however, has evolved so that it’s never mind anything except the physical. Modernity has given the heave ho to thousands of years of meaning, and replaced it with the provisional, so that essence is what you make of it, once you have come into being. The physicality of existence is what matters more than anything else.

It may be reductive to do yoga as a workout, but the other paths have been largely washed away in the Great Flood of rationalism secularism commodification. Besides, yoga has been decontextualized to the point that anything goes, anyway. Who really believes in the past anymore?

Traditional yoga was an enterprise after states of insight. Modern yoga is an enterprise after health and wealth along material planes. Traditional yoga espoused detachment from physical pleasures, or at least many of them. Modern yoga is a shopping mall of physical pleasures. Traditional yoga was then and modern yoga is now.

We all dream up our own reality, although now and then it’s fine to pause in our pursuit of yoga and just do it.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

The Second Anne Shirley

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By Ed Staskus

“Many people think I was the first Anne, but I wasn’t,” said Gracie Finley.

Every summer for the past fifty-two years the musical ‘Anne of Green Gables’ has played on the main stage of the Homburg Theatre at the Confederation Centre in Charlottetown, the capital of Prince Edward Island. The show is based on the 1908 best-selling book written by Lucy Maud Montgomery.

No show on London’s West End or on Broadway has been on the same stage for more seasons. It is not only Canada’s longest running smash hit, it’s the longest continuously running musical theater production in the world. Eighteen actors have played Anne Shirley since 1965.

“I was the second Anne, not the first. It’s an urban myth that I was the first, probably because I’m a local girl.”

Although Gracie Finley is a local girl, it is in the way that Anne Shirley, the red-haired orphan from Nova Scotia, hero of the story, is a local girl on Prince Edward Island.

“I’m an Islander,” said Gracie. “But, I was actually born, hold on to your hat, in Sheffield, Alabama.”

Her father was an American serviceman from Walnut Ridge, Arkansas, where there is a statue of James Finley, one of his forebears. The woodsman Daniel Boone came clean when he said, “I have never been lost, but I will admit to being confused for several weeks.” James Finley was one of the scouts who helped guide Daniel Boone through the Cumberland Gap in the 1790s.

Her mother was in the Canadian Armed Forces. They met in London, backstage at the Royal Albert Hall, during World War Two, at a fund-raising joint services concert. Fund-raising led to raising the roof and they married not long after.

In the 1940s Walnut Ridge was a farming community of fewer than three thousand. Croplands of grain, oilseeds, and dry peas were its chief commodities. Alberton, on the northwestern shore of Prince Edward Island, her mother’s hometown, in the 1940s was a silver fox farming community of fewer than a thousand.

“Alberton, those are my roots,” said Gracie.

After the war the newlyweds moved to the United States, to Walnut Ridge, to hot muggy summers and wet chilly winters. The closest ocean was nearly 500 miles away.

“My mom had a big problem moving to the south. She was a young girl from PEI. It was awful after the war. She just couldn’t stand what was going on there.”

Jim Crow had ruled in Arkansas since 1868 with the passage of laws segregating schools. By the turn of the century white primary law had been institutionalized, effectively disenfranchising the black vote. In 1957, after a Supreme Court ruling struck down so-called separate but equal education, the 101st “Screaming Eagles” Airborne Division had to be mobilized to enforce the federal ruling in the state. The Ku Klux Klan to this day maintains its national office in Arkansas.

“It upset my dad, too. The decision was finally made. We were high-tailing it out of there.”

Gracie and her mother, although living in the south, had been spending their summers on Prince Edward Island through the 1950s. “She had to get away. We stayed at my grandparent’s farmhouse up in Alberton.” After pulling up stakes, moving nearly two thousand miles northeast, the family settled down to spring summer fall and Gulf of St. Lawrence winters on the island, winter being waiting for the next spring.

By 1965, when the newly-minted ‘Anne of Green Gables’ headlined the Charlottetown Festival for the first time, Gracie Finley had several years of small fry ballet classes under her belt, was experienced in grade school theatrics, but hadn’t yet founded the drama club at her high school-to-be. That summer she performed with the Circus Tent Theatre at the Confederation Centre.

“We did children’s productions in the afternoon. We didn’t get paid, but we could have jobs as ushers in the main theater at night.” She was thirteen-years-old. Chutzpah is something you either have or you don’t. “I saw the show from the first season. I snuck into rehearsals. I met Jamie Ray, a Texan who originated the role. She was the first Anne.”

The first Anne took an interest in the second Anne. “She went out of her way to talk to me, wanting to know what my plans were, always willing to lend me something, help me,” said Gracie.

The next year, 1966, the show’s co-creator Don Harron, who also wrote the musical’s script, sought Gracie Finley out after seeing her in a small local play.

“Do you sing or dance?” he asked.

“No, why?”

“Because you look like an orphan,” he said. She was five foot two and 100 pounds.

He suggested taking singing and dancing lessons. She took lessons and took on something like the likeness of an orphan. Actors said, she’s more of a dancer. Dancers said, no, she’s more like a singer. Singers said, no, you’re both wrong, she’s really an actor.

Two years later, in 1968, by then a triple threat, she took over the spotlight, becoming the youngest singer dancer actor to ever play the role of Anne Shirley, and the first of only two native Islanders to do so.

“It was pretty terrifying, I can tell you,” said Gracie.

She stayed in straw hat and red pigtails for seven summers. The show toured nationally in the off-season. In 1970 it went to Japan. The cast and crew shared a chartered plane with men from the RCMP Musical Ride. The ride is a choreographed spectacle performed by a full troop of 32 Royal Canadian Mounted Police riders and their horses.

“Strong drinks were flowing freely,” said Gracie. “No one could get any sleep as the noise level got higher. When we arrived I was deaf in one ear. I had to go to a doctor. He couldn’t speak English and I could only say hello goodbye and ice cream in Japanese.”

But, the show had to go on. Lucy Maud Montgomery’s book was translated into Japanese in 1952, ‘Akage no An’ became a part of the country’s school curriculum, and remains improbably popular to this day. The show went on and was a hit.

Between seasons she got married. “I met Barry at a party in England. We’ve been married 47 years.” She gave birth to her first child. After the 1974 season, when her husband, Barry Stickings, a chemist working for the German multi-national BASF, was offered an opportunity to work in Germany, Gracie Finley Stickings was ready to go.

“I thought, my first child is nearly two. I didn’t have that child so someone else would see him stand up and walk and speak for the first time.” Besides giving up a social life, sleep, and losing track of the space-time continuum, actors often are forced to sacrifice their families. ‘I can’t, I have rehearsal,’ is a common refrain.

“I’m ready,” said Gracie.

After several years in Germany, and after several more years in Montreal, where Barry Stickings was next transferred, Gracie Finley got a phone call. The man on the other end of the line was Alan Lund, the artistic director of the Charlottetown Festival from 1966 to 1986. He invited her back to reprise ‘Anne of Green Gables’.

“I was 30ish, married, and had two children.” She thought about it for a second-or-two, and then said yes. She was back in pigtails in 1984. In 1985, her second and final year back, she became and remains, at 33-years-of-age, the oldest actor to play Anne Shirley. She was the youngest and the oldest. But, she wasn’t done setting records.

“I was going from one form of birth control to another. My doctor told me to watch myself, because it might take awhile for the changeover. I said, la, la, la, nothing’s going to happen.”

Instead of exercising restraint she exercised. What happened was she got pregnant right away.

“I sat down in front of our producer, Jack McAndrew, who always called me Miss Gables. Jack, I said, I have something to tell you.”

He looked her in the face. “You’re having a baby.”

“How did you know?”

“We have three kids. I know the look.” She became the first the last the only pregnant Anne Shirley, breaking new ground in the world of Avonlea.

“They said I could still pass for the petite orphan girl.” She was excused, however, from jumping off tables. An understudy played the matinees. “Toward the end of the run, at seven months along, the costumes were getting tighter and tighter.”

In 1985 Gracie Finley hung up her straw hat and her career on stage. The Stickings moved back to Germany and bought a house. “We went through all the rigamarole, lots of red tape. They have to put a stamp on everything.” As soon as they settled down Barry Stickings was transferred to New Jersey.

“We lived up in the hills, outside Morristown, where there are lots of horses. I love horses. My father wanted me to be a ballerina. He would put on classical music and I’d spin around. But, I was in love with Roy Rogers and Gene Autrey.” Rogers and Autrey were singing cowboys on the radio, in the movies, and on TV. “I told my father I wanted to be a cowboy.”

Daniel Boone, with whom the family has a kindred spirit, once offered the counsel, “All you need for happiness is a good wife, a good gun, and a good horse.”

In 1996 they moved to the UK. “When my husband got the opportunity we said, we have to, we just have to. I was thrilled. We love England.” They bought a house outside of Oxford with a large garden and stables. The house was nearly 400 years old, originally the Woodsman’s Inn.

“Our part of the country is where they first started turning chair legs.” Her part of the country is what were once the forests of Shotover, Stowood, and Wychwood. Shotover Forest, nearest to where they live, supplied wood by royal decree for both fuel and building from the time of Henry III. Turners shaped legs with chisels and gouges while spinning them on a lathe.

They lived in England, their children growing up, but often returned to Prince Edward Island. “We came summers, and after my mom died, and my aunts got too old for us to stay with them, we bought a year-round cottage in Stanley Bridge.”

Stanley Bridge is a small town west of Cavendish on the north shore. It is known for the Sterling Women’s Community Hall, the New London Bay, and the bridge on Route 6 over the Stanley River. When the weather is good, sitting on the waterfront deck of Carr’s Oyster Bar, you can watch kids jump off the Stanley Bridge the thirty thrill feet down into the bay.

The thrill is in the scariness.

“We’re right across the bay from Carr’s,” said Gracie. “There’s a small lagoon, a swampy place, which is great because we get all sorts of birds and wildlife.”

One day she got another phone call. The man on the other end of the line was Duncan McIntosh, director of the Charlottetown Festival and soon-to-be artistic director of the new Watermark Theatre in North Rustico, 12 minutes on Route 6 from Stanley Bridge.

He invited her to dinner. She knew what was coming. He had been dropping hints.

“So Gracie, I’ve been looking at doing Chekov’s ‘The Cherry Orchard’, but set on PEI in the 1970s,” said Duncan. “What would you think of playing the lead?”

“I went home and thought, why not?” said Gracie.

“Aren’t you afraid to come back?” her friends asked her.

“I think it does you good to give yourself a healthy scare. I wasn’t frightened so much as I was excited. I fell in love with Russian literature when I was a teenager. It’s when you’re going through the terror you get right into it. I love Chekov. That’s how Duncan reeled me in.”

If ever stranded on a desert island, she said, she would make sure to have an iPod that never died, an endless supply of food, and lots of Russian novels.

Twenty-eight years after leaving the stage Gracie Finley was back on the stage, not in just one play, but in two plays at the same time at the Watermark Theatre. One was ‘The Shore Field’ by Duncan McIntosh, inspired by Anton Chekhov, and the other one was ‘Alice in Wonderland’.

“It’s like riding a bicycle. You get up there and start pedaling,” she said.

“I played the Queen of Hearts. Off with your head! She is just so preposterous. But, I had a dynamite costume.”

It was dynamite until she actually had to don the poofed panniered straightjacket dress and move around in it. “It took two people to get me in and out of it. When I went up to the balcony to play the judge, there’s a narrow part of the staircase, where I really had to push to get up those stairs.”

It’s been said, never look backward, you’ll fall down the stairs.

In the 1960s, when repertory theater was going strong, Gracie Finley specialized. In the age of specialization, when repertory is fading away, she jumped feet first into repertory. “It’s a big challenge finding two plays where you can cross cast people. You become close very quickly, become a family. It’s chemistry.”

The Homburg Theatre, home of ‘Anne of Green Gables’, seats more than a thousand on two levels. The Watermark Theatre, a member of the Professional Theatre Network of PEI, is small, seating a handful more than a hundred. “Doing live theater, in a small theater like this, is like no other experience. It’s a smaller version of the Stratford stage. The audience is inches away from us. We feel that energy.”

Last year, her 4th season there, she played the jolly hockeysticks Madame Arcati in Noel Coward’s ‘Blithe Spirit’ and the faded Southern belle Amanda Wingfield in the memory play ‘The Glass Menagerie’ by Tennessee Williams.

“This is going to take a lot of energy,” she said while rehearsing in early June. “And, I have to say, I am very tired at the moment, very tired. I have to take a nap.”

Many people get snappish if they’re not well rested. A short afternoon snooze means waking up fresh again. It also means you end up with two mornings in a day, although not necessarily a second plate of Mussels Benedict.

This year, returning to the Watermark for her 5th season, Gracie Finley is playing the wild-evening-of-romance Ethel Banks in Neil Simon’s ‘Barefoot in the Park’ and the imperious Kitty Warren in George Bernard Shaw’s ‘Mrs. Warren’s Profession’.

“The best part about being here is that I’ve gotten to play some of the best roles in theater for a woman my age.”

When women actors reach about 50-years-of age they discover auditions are suddenly looking for a younger version of you. Age and gender matter on stage. There is a trove of plays, starting with the male-heavy Shakespeare, featuring men over 50. There is a scattering of plays featuring women over 50.

“Let’s face it, the roles get fewer and fewer for older women,” said Gracie.

Nevertheless, the roles keep rolling up to her doorstep.

“There’s nothing like the first day of rehearsals,” she said. “We sit around a big table, the cast, production people, and the director. We see a model of the set and sketches of the wardrobes. We take a break, get a cup of coffee, and read through the script.

“The rehearsal period is always one step forward, two steps back, you have a good day, and then think I don’t know what I did today. You get going again, you get to the stage, where you think, I think we’re getting there. It’s about a group who start to gel. It’s about taking an author’s idea, voicing that idea, and making it a reality.”

“If you cannot get rid of the family skeleton, you may as well make it dance,” said George Bernard Shaw.

Gracie Finley raised her family off stage. Even still, they were the kind of family that didn’t look at her like she was crazy whenever she broke into song and dance. After she got back on stage they were the kind of family that made her feel less crazed whenever her script director stagecraft weren’t making sense.

The theater for many actors is a second family, which is what happens after twelve-hour rehearsals and sharing the fear of opening night. Remember your lines and don’t freeze up stiff as a board. You can’t choose your family, on or off stage, but you can choose to make magic with them.

“I feel very lucky to be back working again,” she said.

“Our little stage, it’s so immediate. It’s electric.”

When most people are getting home for dinner, or getting ready to go out to dinner and a show, Gracie Finley is making the scene punching in to work, lifting words off a printed page and by lights make-up wardrobe dialogue action making them into a show, an electric thrill up and down the spine, the first time and time in hand until the curtain call.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Wheel of Fortune

By Ed Staskus

Everything in life is somewhere else, and you get there in a car.”  E. B. White

There are about 6 million car accidents in the United States every year, which amounts to close to 16,000-or-so every day of every week of every month. Car accidents cost more than $230 billion per annum, or more than $800 for every person in the country. In the last five years the number of accidents has risen by almost a million a year.

1 in 45 American drivers experience some kind of injury-producing accident annually. Almost everyone in the country knows someone who has suffered in a car crash. Not everyone, however, knows anyone who practices yoga who’s been in a car crash.

It’s not because they don’t drive cars. Yoga might be from back in the walking and horseback days, but everyone drives cars nowadays. It’s a birthright rite of passage right of way in the modern world. It’s more likely that since they practice yoga, and the lessons learned, they are able to stay out of harm’s way more often than not.

Some of the causes of car crashes are unavoidable, whether you practice yoga or not, like design defects of the car itself, potholes and tire blowouts, animals like deer crossing in front of you, and even slippery treacherous heavy rain. Most accidents, however, have nothing to do with a moose jumping in front of your car in a rainstorm as you hit a pothole and all your tires blow out. They are usually the fault of human misbehavior.

It’s pedal to the metal. It’s burning rubber. It’s Dead Man’s Curve.

The lion’s share of mishap is the result of driving drunk, driving drug-addled, reckless driving, running red lights, and distracted driving. Driver error is by far the largest single cause of smash-ups in the United States, according to the National Highway Traffic Safety Administration. It’s gotten to the point that almost 70% of all traffic fatalities are caused by aggressive driving.

The wages of out on a limb driving, like carelessness aggressiveness tailgating turning and passing improperly violating rights of way sensation-seeking speeding road rage, are bump and grind life and death. On top of that, many drivers overestimate their own skill level behind the wheel. 90% of us believe we have above-average ability. It’s zoom zoom in your car car. But public roads are not proving grounds for bumper cars.

Going foggy mountain, making matters worse, young and old, men and women, no collar to white collar, are stopped all the time for driving under the influence. There are literally millions of DUI collars in the United States every year. No matter the source, such as spirits or various other drugs besides alcohol, drivers demonstrating impairment are arrested and charged.

Distracted driving prioritizes ordering a sausage mushroom green pepper pizza from your car while trying to find the cup holder for your Starbucks over being able to stop in a split second’s notice on a four-lane while whizzing along at 65 75 85 MPH. Even though safe driving depends on your ability to notice many things at once, it might be better to keep the deluxe pizza you’re dreaming about out of the mix.

Since driving is the most dangerous thing most people do on a daily basis, why do so many people turn into tools the minute they get behind the wheel? It’s one thing to cut in line at the supermarket. It’s another thing to cut in line on the superhighway. Two shopping carts in a catfight will end up in bruised feelings. Two SUV’s going mano a mano puts the lives of all involved at risk.

Why take the risk?

“When we’re in a car we often feel anonymous,” explained Erica Slotter, a social psychologist at Villanova University. “When we feel anonymous, we lose focus of our moral compass and are more likely to behave badly.”

Middle fingers fly fast and furious.

At even its most basic level, notwithstanding any points on the compass, yoga is good for your driving. Being stuck in a traffic jam can be a pain in the ass, but it is definitely a pain in the back. Not only are you sitting around seething, but once you get going there are acceleration forces, vehicle sway, and vibration. “Coupled with the design of the car seat itself, they can increase the chance of back problems,” said Alan Hedge, a professor of ergonomics at Cornell University.

Stop and stretch as often as you can, say most chiropractors.

Take a yoga class. All of the basic yoga exercises, from cat cow to downward facing dog to bridge pose to dolphin plank are good for your back. They stretch and lengthen your back. They strengthen your back. They help return your back to its proper alignment.

Take a yoga class once or twice a week. Consistent practice leads to better alignment overall, better posture, and better body awareness. Instead of slumping in c-curve style in the front seat, awareness of your body gained through yoga helps you maintain the natural curvature of your spine.

Twisting poses are a big part of the practice. Sitting at home, at work, and in a car stiffens up tissues, muscles, and joints. When you rotate your spine your back muscles mobilize and vertebrates decompress.

It makes reaching into the back seat easier.

Not only that, getting on the mat is good for visual acuity, such as being able to spot sudden obstacles and shifts in traffic patterns. A report in the ‘Journal of Modern Optics’ revealed that people who practiced yoga were able to detect that a flashing light was pulsing, rather than held steady, at significantly higher frequencies than control subjects. They were able to see danger ahead sooner than later.

If drugs and drink are the bane of road traffic safety, soaking up some of yoga’s lessons about on yoga off drugs might get some people to put the brakes on. Since drugs and drink are time-honored pastimes, the problem isn’t having a cocktail or a spliff now and then, but tanking up on opoids or booze or both. Fortunately, many drunk drivers get into one-car crashes and just kill themselves. Unfortunately, more than half of all fatal car accidents involve one drunk driver and one sober driver.

Drugs and drink slow you down, slow your reaction time, slow your brain down, slow the processing of sensory information, and generally impair your ability to use common sense. Mind-altering substances can be entertaining, but there’s a falling off point where they simply distort reality to no good end and lead to wild goose chases. In the end it amounts to little and ends in nothing.

Although it is true yoga requires effort to do, while popping a pill or bending an elbow is as easy as it gets, the rewards of yoga practice are there for the taking. It brings the body and brain into balance. Although there are no rules from on high that say everyone who does yoga has to be a teetotaler, it is a practice of awareness, not something for dumbing down your consciousness.

There are no hangovers after a yoga exercise meditation mindfulness class. It’s clear sailing ahead.

“It takes only one drink to get me drunk,” said George Burns. “The trouble is, I can’t remember if it’s the thirteenth or fourteenth.” When you practice enough yoga, however, you usually remember to stick to the first or second one, and you’re always aware that driving juiced or junked-up is dangerous, not just to you, but to everyone else on the road.

When did eating fiddling with the radio grooming phone calling and texting behind the wheel while merging lanes become the norms of unsafe driving? At any given time about 10% of all drivers are distracted, according to Paul Atchley of the Transportation Research Institute at the University of Kansas. It might be prudent every time you start up your car to assume there is someone out there who will be trying to kill you.

For every 11 miles driven the average driver is on their phone for a half-mile. Looking down at it for 5 seconds at 55 MPH is the same as driving the length of a football field with your eyes closed. It’s relying on luck, walking the high wire between the vital spark and disaster. Maybe you’ll score a touchdown. Maybe you’ll get sacked for a big loss.

Mental focus is a large part of yoga. It’s one of the eight limbs of the practice and is woven in and through all the other parts. There might not be any rules about drinking, but there is a rule that says pay attention and no texting while in headstand.

In yoga practice the idea of a focused gaze is called drishti. It essentially means a place to look. It is a core concept and was championed in the work of K. Pattabhi Jois and B. K. S. Iyengar, the two pioneering teachers of the twentieth century. On the yoga mat it means looking at one spot while in a balancing pose to help keep you from falling over. On another level it means paying attention to what you’re doing and being mindful of the moment.

“It appears that following yoga practice participants were better able to focus their mental resources,” said Neha Gother, a professor of kinesiology at the University of Illinois about research published in the ‘Journal of Physical Activity and Health’.

“The breathing and meditative exercises aim at calming the mind and body and keeping distracting thoughts away.”

On all levels it means being able to damp down the chatter.

In page-one yoga and day-to-day life it means concentrate your thoughts on the task at hand. ‘Look, something shiny!’ doesn’t get you anywhere. On the open road it means eyes front and hands on the wheel. Put the smart phone away in the glove box. Better yet, throw it in the trunk. Manipulating it and talking both distract the brain. Driving is itself enough of a multitasking activity, at least until we are all being chauffeured by driverless cars.

The practice of yoga and driving are both about keeping the mind body in tune. Although yoga classes always end with savasana, otherwise known as dead man’s pose, there’s no reason to race to dead man’s curve after class.

“When the light turned green, you shoulda heard the whine from my screamin’ machine, Dead Man’s Curve I can hear ‘em say, won’t come back from Dead Man’s Curve,” is how the Jan and Dean song goes. Everybody knows what happened at the hard curve in the road.

At its most elemental level yoga is about conscious breathing. The breath is what links all aspects of the practice. It redirects your focus. It imparts a sense of compassion, for yourself and others. When compassion kicks in it’s easy to drive close to the speed limit so that you’re not endangering others. It’s easy to stay sober and alert so that you aren’t making yourself a menace to society. It’s easy to let another driver merge into your lane without blowing a gasket.

But, if the screws do start coming loose, just breathe.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Shoot the Moon

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By Ed Staskus

“Where’s the moon now, we’ve been lost for days, we’re on a trip around the sun, food and drink for everyone.” Leningrad Cowboys

The red and white sign in one of the paired windows slanting toward the road said “Help Wanted”. It was morning, prep time at eateries.

“I had gotten out of culinary school, was living down the street, and riding to P-town to look for work,” said Tony Pasquale. As he passed by he got a look-see at Terra Luna and a glimpse of the bright sign. He turned around and rode his bike up to the front door. Raina Stephani, the owner, and he introduced themselves.

They sat inside at a table next to the front door.

Terra Luna is a restaurant on the Shore Road of North Truro on the Outer Cape of Cape Cod. The two-lane road with sand shoulders is Route 6A, in parallel with Route 6, which interconnects most of the peninsula’s towns. The Shore Road was once called the Old King’s Highway.

“When can you start?” asked Raina, who opened the restaurant in 1993, starting the job interview.

“I can start tomorrow,” he said. “But, don’t you want to see my resume?”

“No,” she said.

He went to work in the kitchen in 1997, as a line cook, then sous chef, and finally kitchen manager. Fourteen years later Raina told Tony, ”I’m done. I don’t want it anymore.” Tony Pasquale bought Terra Luna in 2011. Today he is still in the kitchen, the chef, but at the hardware store, too, the handyman, and the office, doing payroll and the books.

“I’m on the line six days a week,” he said. “Everyone contributes, Paul, Marlene, Carla, who is Raina’s mom. She does the baking. But, I do everything.”

It’s old-school style, the owner’s manual written by the skipper.

On the high rise of the Shore Road, before it dives down to sea level on the way to Provincetown, Terra Luna is an Italian Mediterranean Portuguese cottage-style restaurant. It is a seasonal eatery, open roughly mid-May to mid-October. “Our menu, we call it neo-pagan,” said Tony.

“It’s a funky eclectic fun busy small intimate place, fish very nicely done,” said one diner as last year’s season wound down “They feature Absinthe specials and Sazerac rye cocktails, a real treat.”

“It hasn’t changed much,” said Tony. “It looks like it did in 1997, except we built the bar. The landlord has owned this building forever. Sometimes it needs some sleight-of-hand.”

The northwest corner of the floor is slowly sinking. The large painting on the wall, as a result, began to look crooked. “I put a tack under the bottom left corner of the frame, to hold the painting crooked, so it would look straight.”

The building was once the common room for the Prince of Whales cottages on the other side of the parking lot. Inside, the floor is wood, the walls are wood, and the pitched trestle ceiling is wood. There is plenty of coastal air by way of screened windows and doors. Paintings and glassworks by local artists, who moonlight in the busy summer, serving food, pouring drinks, are on the walls.

Two years ago he donated a dinner to the Sustainable Cape Farmer’s Market. “They asked me if I would do a dinner with Mark Bittman. I said, sure.”

Mark Bittman is a food writer, a former columnist for The New York Times, and author of more than a dozen books. His ‘How to Cook Everything’ was a bestseller and won the James Beard Award.

A year later Terra Luna got a phone call. “OK, they said, it’s for July 5th. I asked them, are we cooking together?”

“No,” said the other end of the line.

“That’s what I want to aspire to, be so famous that the thing I donate to charity is you get to take me out to dinner,” said Tony.

They started with their on-again off-again Bait Plate. ”My friend Jason and I had come up with it as a special. It’s all trash fish, smelts, razor clams, squid, sardines.”

Atlantic cod and lobster were long the dishes of choice in New England. But, overfishing and environmental changes have led to sharp declines in stock, especially of cod, and a shift toward more abundant species, like scup and spiny dogfish.

“I’ve complained for years that Cape Cod restaurants don’t strut the Cape’s stuff,” Mark Bittman wrote after the dinner.

“I was served a pile of what were once considered trash fish, all sourced locally. The cooking happened to be perfect, kudos to the kitchen, although that’s the easy part. It’s making the effort to deal with local fishers and ensure the product is genuine that’s tricky.”

“He told us, I will definitely be back,” said Tony. “Which was great, because he can be cranky.”

A native of Montclair, New Jersey, Tony Pasquale attended Syracuse University, graduating in 1990 with degrees in English and Cultural Anthropology. “That basically left me prepared for nothing,” he said.

He came to Cape Cod as a lad in the mid-70s when his family started vacationing in North Eastham. In 1988, at the start of summer, he came back. “There was nothing in Brewster, nothing in Eastham, college kids were still coming here to work. I ended up in a dumpy cottage in Truro. I ended up getting my first restaurant job. I got hooked.”

His first job was frying fish at the Goody Hallett, named after a young woman who turned to witchcraft for revenge in the early 18th century after being abandoned by the freebooter Black Sam Bellamy, believed to be the wealthiest pirate in history. Even though the restaurant has long since been torn down, replaced by a bank, sightings of Goody’s ghost are still spun by eyewitnesses in Eastham and Wellfleet.

Three years later he enrolled at the Western Culinary Institute in Portland, Oregon. “I wanted to go west and they were accredited.” Instead of the two-year program, he chose the accelerated one-year program. “I didn’t need anymore spring breaks.”

The cooking school opened in 1983, the brainchild of Horst Mager, who was a local chef and restaurateur. It has produced many acclaimed cooks over the years, including Matt Lightner and Homaro Cantu.

The program was part kitchen work, applying skills and techniques, and part classroom work, studying food science, as well as concepts in baking and pastry. “The instructors were great when you got into the kitchen, but sucked when they did lectures,” said Tony.

“One day it would be, we have a piece of fish. How can you cook it? You can grill it. You can poach it. You can bake it. The next day it would be, we have a piece of chicken. How can you cook it? You can grill it. You can poach it. You can bake it. I remember turning to one of my friends and saying, fuck it, are we really taking notes?”

After graduating he interned in Seattle, at the Alexis Hotel’s multi-star restaurant. He learned the business of making real food for real people in real time. He also learned he didn’t want to work for a corporate restaurant. “They never tell you in culinary school how many meetings and how much paperwork you’re going to have to do. The head chef got great reviews, but it was a nightmare, super competitive. She used to lock herself in her office. She lost it.”

He divided his time for the next several years between the east coast and the west coast, finally settling on Cape Cod in 1997, the summer he spied Terra Luna. “I love it here,” he said. “It’s still relatively unspoiled, even though it’s getting developed more and more. But, it will get to the point where it can’t be developed anymore, and that’s pretty soon.”

He works in Truro and lives in Wellfleet, both once whaling towns, both towns in woods of pitch pine and black oak, both towns the better part of them being the National Seashore.

Although vegan and vegetarian grub is served at Terra Luna, the menu is largely home on the range fare, pork chops, beef, and fish. The so-called neo-pagan larder keeps its cupboard doors open to organic close to home free-range livestock farming. Tony Pasquale supports environmental issues and organizations.

Not everything is neo-pagan, though. Some of it is closer to pagan, like Terra Luna’s Smoked Bluefish Pate. A neighbor spilled the beans about the unique recipe.

“Top Knot was sketchy, lived across the street, in what we call Cannery Row,” said Tony. “He had a peg leg and eye patch, except he switched the eyes. He came in one day, gave me his recipe, which was a special way of reducing shallots with wine, and it was incredible.”

Pirate’s booty isn’t always silver and gold. Sometimes the treasure chest is full of pate. Eat up me hearties!

The small restaurant is usually busy. In the summer they are even busier. “We were brutally busy last year,” said Tony. In the kitchen there are a chef’s table, two stoves, ovens, sinks and fridges, a salad station, coffee and espresso machines. It is a factory-like space, stainless steel and tools of the trade and exhaust fans, making fine delicious food. “It’s tight, streamlined, and we’re all close together, three of us cooking, and the dishwasher.”

Everybody rarely gets a day off. The hours are early Industrial Age-style. It is hard work. It takes a toll. “Some mornings I get up and, Jesus, that’s not working. You’re on your feet 15 hours.”

In common with many employers on the Outer Cape, especially seasonal employers, Terra Luna faces labor shortages. “When I was in college, I came here every summer,“ said Ken Smith, vice president of Red Jacket Resorts. “Me and three other guys rented a small Cape. For whatever reason, it doesn’t happen today.”

Housing, or what little there is of it, has grown prohibitively expensive, there is the dilemma of making money that in the end goes against your student aid, and the no-status summer job has become a resume non-builder. At the end of the day even the close-to-hand are hard to find.

“It’s extremely difficult to find locals anymore,” said William Zammer, owner of Cape Cod Restaurants, Inc. When Terra Luna lost its sous chef at the last minute it had to buckle down. There wasn’t a replacement to be found, not for love or money.

”There was no help,” said Tony. “There was nobody. We all know each other, the other owners, we’re talking all the time, but everybody was getting ready for their opening weekend. Eric Jansen at Blackfish was opening late, so he sent some people over.”

I need them back next weekend was the caveat.

“I did Craig’s List, the whole BS Internet thing, nothing,” said Tony. ”Finally, I put a sign up, ‘Help Wanted’. A guy going by on his Vespa, who was looking for a night job, stopped. He didn’t have a resume. I said, screw it. He’s from Mexico, a trained chef, and he did specials all summer. He was great.”

Even though motels hotels cottages resorts restaurants advertise for American workers, “we get virtually no response,” said William Zammer. Many of Cape Cod’s seasonal workers are from Eastern Europe, Latin America, and Jamaica. They are allowed to work in the United States on a temporary basis as a result of the H2B visa program, which is tailored for entry-level jobs in hospitality and retail.

Tony Pasquale’s dishwasher, Marlene, is from Jamaica. “She and I have been here the longest. She’s the rock, holds the kitchen together.” She comes to Cape Cod in the spring and goes home in the fall. On the peninsula she lives in Little Kingston, which is what the Prince of Whales cottages are known as up and down the Shore Road. She cleans rooms for a hotel in Provincetown during the day and takes a bus back to Terra Luna to wash dishes at night.

When the Jamaican reggae singer Beres Hammond was booked to play at the Payomet, Tony asked Marlene if she wanted to go to the show.

“No, I have to work.”

“We’ll get Roy to work for you.”

“How am I going to get there?”

The Payomet Performing Arts Center is on the other side of North Truro, on the ocean side. They stage professional theater productions and host live music, from Ruthie Foster to Southside Johnny, in a big, big tent. There is an outdoor dance floor for high stepping to the Genuine Negro Jig of the Carolina Chocolate Drops.

“We’ll get you a cab.”

“I don’t have tickets.”

“We got you front row.”

Sometimes you just have to step up to the plate and no ifs ands or buts lay something at someone’s feet.

Terra Luna barters for tickets, as well as catering some of Payomet’s events. The night the rhythm and blues gospel singer Mavis Staples was on stage the kitchen prepared a shrimp plate for her. “I was in the second row when between songs she said my name,” said Tony.

“Boy, you can burn!” said Mavis Staples. “I didn’t finish my shrimps, but I got a microwave up in my room. I’m going to throw that in and have myself a midnight special!”

Although Terra Luna’s haddock and oysters are sourced locally, all of their cod and shrimp come from far away. “There are a lot of licensed fishermen here, so my oysters come from Wellfleet.” Salmon, a staple on the menu, is not indigenous to North Truro’s neck of the woods. “There’s no shrimp here either. I get it from Chatham Fish. Sometimes people ask me if it’s Gulf shrimp. After BP, I tell them, yeah, Gulf of Tonkin.”

The sardines come from Portugal.

The first time Terra Luna fed a band the band was the Zombies. They are a British Invasion rock group from the 1960s, still going strong. When asked in 2015 about the name, Rod Argent, founding member, organist, and still the lead singer, said they all just liked it. “I knew vaguely that zombies were the Walking Dead from Haiti.”

“They were great,” said Tony. “It was an after-party. The problem was, they announced it from the stage. I left during the encore.”

Back at the restaurant he gathered the staff. “We might be a little busy.” A half-hour later close to a hundred people walked in. The bartender got into the weeds almost immediately. Tony ordered the menus be put away. “It was rum and coke and gin and tonic after that. One of us did wine and one on the tap.“ The kitchen fired up all of its burners, all hands on deck.

“It was awesome. The Zombies hung out all night.”

Sometimes singers stop in by themselves.

“I got a call last minute about Judy Collins,” said Tony.

“We need dinner for her.”

“She’s not on my list. I’m not donating.”

“We’ll pay for it. It’s just her by herself.”

“She came in and ordered the Porterhouse.” The Porterhouse is doubling your dining delight. It is the King of the T-Bones. “She put it down. I eat a 16-ounce steak and I have to take a nap. She went and did the show.”

Sometimes it isn’t a singer.

The Truro Vineyards, one of a handful of wineries on the Cape, is two or three miles away on the downside of the road.

“I know you don’t take reservations,” said Kristen Roberts, who with her mom and dad are the winemakers. “But, my parents are coming, three people at seven.”

“I don’t know. Three people?”

“My dad’s friend, Al Jaffee, he’s 93.”

“Al Jaffee? From Mad Magazine?”

“Yes.”

“Come to dinner.”

Al Jaffee is a cartoonist who has drawn satirical cartoons for Mad for more than sixty years. “Serious people my age are dead,” he said. Between 1964 and 2013 only one issue of Mad was published sans one of his cartoons. ”I grew up with Mad. He did the back page fold-in,” said Tony.

“We’ve got to do something special,” said Luke the bartender. He mixed up a new drink and called it The Fold-In.

“Al Jaffee rocked the pork chop and two Fold-In’s,“ said Tony.

The next day Dave Roberts stopped at Terra Luna with a copy of Mad.

“I know you did this for us,” he said. “I went out and bought the new issue. Al Jaffee signed it.”

At other times it isn’t a singer or a cartoonist. Some people, including Tony Pasquale, believe the building that houses Terra Luna is occasionally haunted.

“The jukebox didn’t work for weeks,” he said. “One day, getting ready for service, we heard woooooo all of a sudden. It was the jukebox turning itself on. It started playing ‘I Put a Spell On You’ by Screamin’ Jay Hawkins. We all stopped what we were doing. Everybody was freaked out.”

Another day Tony was in the kitchen in the middle of the day, alone, prepping for the dinner crowd. ”I had music cranking, doors locked, when all of a sudden I got that feeling that someone’s staring at you. I looked up. It was an old lady. She smiled and I smiled. I went back to work. But, then I thought, oh, fuck, there’s someone in here. When I looked up again there was nobody. I’m a hairy dude. All the hair on my body stood straight up. I had to go sit outside for a while. At least she was friendly.“

In the spring Terra Luna is smudged. “My buddies come in, burn some sage.” Sage means to heal and when burned it’s believed to clear away all things negative real and imagined, a balm and seal for the mind and spirit.

Cape Cod is the chin of New England, sticking its neck out into the Atlantic Ocean. When hurricanes roll up the seaboard the peninsula takes it on the chin, taking the brunt of high wind and high water.

“I see a bad moon a-rising, I hear a hurricanes a-blowing, I know the end is coming soon,” Credence Clearwater Revival, guitars jangling and drums steady as a heartbeat, sings out loud and clear in a backwoods yowl on the Provincetown radio show Squid Jigger’s Blend.

Route 6, about a mile from Terra Luna, is the Hurricane Evacuation Route. In 1996, in advance of Hurricane Edouard, state officials declared a state of emergency. An eight-hour 40-mile traffic jam ensued, stretching from Orleans to the bridges crossing over to the mainland.

The peak of the New England hurricane season is early September. If a hurricane were to blow in on any day except Monday, when they are closed, a good place to wait out the end might be Terra Luna on the high side of 6A, rather than 40 miles of gas fumes on Route 6. They have candles in case the power goes out, the roof might leak, but probably won’t blow away, there are ghost stories to go around, and they always have plenty of food and drink.

Terra Luna on the Shore Road, on top of that, has a skipper at the ready who makes the moving parts happen – the self-made year-roun-dah in the black chef’s coat so the blood won’t show when he steps out of the kitchen – who is more than capable of staying the course, help when wanted, foul weather and fair.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

(Black Flag) Back to the Mat

By Ed Staskus

“Anarchy is the only slight glimmer of hope.”  Mick Jagger

In the 21st century yoga has flipped over onto its head. It has gone the voice on a soapbox. It has gone bully pulpit. It’s gone do-gooder.

It has lost its mind.

After more than five millennia of minding its own business, it has lately been sticking its nose into everyone else’s business. The first of the eight limbs of yoga are about giving peace a chance, don’t steal the other guy’s stuff, truthfulness, the right use of energy, and self-reliance. There isn’t a word about consciously deliberately engaging with the wider world through good deeds.

Salvation through good works is a Judeo-Christian conceit, not a yoga concept. The Epistle of James makes it plain that “faith without works is dead.” That’s the profit in doing good. In the Jewish tradition, mitzvah means doing something kind charitable beneficial from religious duty. Even the Puritan work ethic is conceptualized as a duty that benefits both the man and his society as a whole.

In the beginning yoga was about looking up at the stars. Then it became suppressing the activities of body mind and will so that the self could realize its distinction from them and find liberation. Later it became a discipline that involved meditation, breath control, and bodily exercise postures for life, liberty, and the pursuit of happiness.

Now it’s connect participate get involved.

“Yoga is something we do to connect and engage with the world,” says Kate Saal, a teacher and educator at One Flow Yoga in California.

When did that happen?

It happened when yoga sprang to life in the Land of Californiacs in the 1970s, but it happened more than ever in the new millennium when Seane Corn, Hala Khouri, and Suzanne Sterling dreamed up Off the Mat Into the World. It is marketed as a bridge between yoga and community action and a broader expression of service on the planet. The organization works tirelessly to “train leaders worldwide in social change.”

Although worldwide is everywhere, and everywhere is too much to handle, the activist Seane Corn believes everyone needs to start somewhere. “What are you doing for the people in your own backyard” she asks, getting you started. It’s not just hashtag activism, either. She means make things actually happen in real life.

Off the Mat Into the World is Karma Yoga writ large for the brave new world.

Karma Yoga is doing your duty, whether “as a homemaker, carpenter, or garbage collector, with no thought for one’s own fame, privilege, or financial reward, but simply as a dedication to the Lord,” says Harold Coward, a scholar of bioethics and religious studies.

It is the “disinterested action” idea found in Hinduism, Buddhism, and Jainism, as well as in yoga. However, in the yoga tradition, it is derived from the Bhagavad Gita, an epic poem composed for the benefit of the warrior class back in the day. Its goal was to get the troops back on the battlefield for the next day’s fighting. The reasoning was simple cunning brazen.

“Set firmly in yourself, do your work, not attached to anything. Remain even minded in success, and in failure. Even mindedness is true yoga,” says Krishna with a straight face.

It’s Uncle Sam, paws on the reins, in a golden chariot.

The truth often depends on a walk around the lake, or a good nap, not necessarily blood and guts, as gods and world leaders would have it. It isn’t always what’s right, either, no matter the medals on the chest of the madman at the front. The truth isn’t always the gospel truth.

The reason we have breakfast lunch dinner and practice on our own mats is so we don’t die of true yoga.

Yoga used to have its hand on the gospel plow. Now it’s full speed ahead, two hands on the steering wheel. Instead of making you a better person, it’s make the world a better place. The small portrait of the guy or gal on the mat has been replaced by “See the big picture!”

There’s the Purple Dot Yoga Project battling domestic violence. There’s the Yoga Bridge supporting those healing from cancer. There are the Yoga Gangsters who “utilize their thoughts, words, and actions to empower humanity.” It’s a tall order, but desperate times demand desperados.

Yoga supports many causes, giving back to the community, helping those who are less fortunate, such as the St. Jude Medical Center, Advance Housing, Ronald McDonald Charities, iFred, and Prevention Works. The practice has even offered a helping hand to the Council for Prostitution Alternatives.

Searching out alternatives, however, begs the question, why is it punishable to get paid for an act that is legal if done for free?

Off the Mat Into the World has expanded yoga from transforming ourselves to transforming our neighborhoods, nation states, and the world. “Rooted in compassion and connection,” they say, “we are called to awaken to suffering and take action in response, creating a peaceful, just, and connected global community.”

Although get up stand up is yoga, getting up and standing up for a just peaceful connected global community is not necessarily yoga practice, unless you say it is and go on missions of mercy no matter what. In the past fifty years-or-so yoga has been co-opted by corporations, the military, and western culture. The latest Johnny-on-the-spot is the Good Samaritan.

What yoga has to do with the global community is moot, open to debate. What yoga has to do with a person’s essential being is an open and shut case. Yoga is more in the way of an anarchic undertaking than a recipe book of groupthink or mother knows best. The practice is not a team game, no matter how many yoga studios and retreats get us all on the same page.

Even the Boy Scouts, paradoxically, believe the same, even though they gather in troops. “Character training is to put responsibility on the individual,” said Robert Baden-Powell, the founder of the scouts. Individuals have to make the effort to define values and principles for themselves, apart from man-made authority and teamwork.

Anarchists, like yogis, at least the one who used to stare up at the stars in the sky, do not believe the collective needs of the group are head and shoulders ahead of their individual interests. When you’re one of the gang, you’re in a gang. Who needs gangsters? Playing the gangster game is the same as playing the society game, just with slightly different rules.

Although anarchy has long been regarded as mayhem, nihilism, and lawlessness by the forces of law and order, it is more the case that it is a belief in the absolute freedom of the individual, regarded as a societal and political ideal. The Catholic Encyclopedia defines anarchy as “an absence of law.” That is even though, if there was ever an anarchist on the planet, Jesus was the one.

The brain wave of anarchy is that individuals aren’t made to widen the scope of society, but that society is made to widen the choice of individuals. Anarchism strives to dream up a society as efficient as possible, leaving it at that, so that society can provide individuals with the widest range of choices. Anarchy comes from the word anarchia, meaning the absence of government. Anarchists believe they don’t need policemen to make them behave.

In other words, good people don’t need laws, while bad people won’t obey them. Spend enough time on a yoga mat by yourself and you’ll become an anarchist sooner or later. If everybody got down dog there wouldn’t be any need for laws line-ups judges jails the end of the line.

The flaw of the Good Samaritan is that they, like the state, like its agents the agencies of government, like its enforcers the forces of law and order, like its arbiters the halls of justice, believe they know what is best for you. Anarchists, on the other hand, don’t stick their noses into other people’s business. They don’t make causes out of thinking they know what is best for one and all.

“God helps those who help themselves,” said the political theorist Algernon Sidney.

The same as anarchia, Sidney’s well-known phrase originated in ancient Greece, the first democracy. Athenian direct participation democracy had more in common with anarchy than any modern bourgeois democracy. It was bottom up. Today’s state is top down. Even our day-to-day sustenance is contrived as the result of trickle down. Everyone, even the rich, is trying to help you out, our leaders proclaim. Republicans and Democrats alike fight it out for the right to say the same thing.

Fight for your right to belong to the wrong party.

Yoga practice is a party of one. On the mat doesn’t have anything to do with anyone else, not your neighbor, not the brightly colored flag you wrap yourself in, and not the world.  When Off the Mat Into the World says it is getting off the mat, they mean exactly that, however much they don’t mean it. Socially conscious causes have nothing to do with yoga, which is a living current of consciousness within the individual self.

Just like yoga isn’t exercise, chaturanga and vinyasa and twisting and turning, it isn’t something you do for others, either, jetting off to third-world countries to eradicate malaria, or digging wells in sub-Saharan Africa. Yoga is who you are, or who you want to become, like the anarchist looking for freedom. It isn’t feeling good because you’ve done something, done good works, made the world a better place to live in.

It isn’t the narcissism of accomplishment. It’s about making you a better person from the inside out. It’s better to be self-made than letting somebody else cook you up.

Even though we all live out in the open, yoga is not about shifting the perspective of the world. It’s not about doing right. It’s about getting right with yourself.

It’s about focus strength stamina all together tilting at windmills toward an inner shift of perspective. It’s letting Krazy Kat Krishna go his own way. It’s missing the big picture, but hitting the bull’s-eye.

It’s not about standing on your head. It’s about standing on your own two feet.

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

Bad Man on Vinegar Hill

By Ed Staskus

   Egidijus and Rokas watched the two U. S. Navy ensigns, young men in the no-man’s land between lieutenant and chief warrant officer, step into Connor’s Public House. The sailors paused in the doorway, the long evening going dark over their shoulders. They both wore white pants, a white shirt over a white t-shirt, a white belt, and a white cap with a black bill. They wore black shoes. There was a single gold bar on their shoulder boards.

   “Hey, shut that door, you live in a barn?” somebody at the bar shouted at them.

   The next minute, their eyes locking on the main prize, they took stools on both sides of a curvy redhead at the bar. They both gave her a smile. There wasn’t anything in her face that doubted her looks. She looked the sailors over with contempt to spare. 

   “Drift,” she said to the one on her left. 

   “We just want to buy you a drink,” the one on the other side of her said.

   “You, too, driftwood, get lost if you know what’s good for you,” she said. They thought she would be good for them. She knew they would only be trouble.

   “Butterbars,” Giles said, eavesdropping on the pick-up lines. “Nieku nezino.”

   “Yeah, they probably play with toy boats at night,” Rocky said.

   “As close to water as they’re going to get,” Giles said. 

   Egidijus had become Giles the minute he landed on Ellis Island. Rokas had been behind Egidijus in line and became Rocky on the spot. Neither of them minded. They were out of the frying pan. They were busy learning English, or what passed for English, in the Big Melting Pot.

   Sam Ellis never meant his island in New York Harbor to be a welcoming place unless it was a last welcome. Before the first immigrant ever set foot there, it was where pirates and criminals were hung out to dry. New Yorkers called it Gibbet island, for the wooden hanging post where the dead were left on display for weeks at a time as a warning to others.

   “She’s got a classy chassis, though,” Rocky said, eyeing the chassis. “If she ever goes back to the fabric store, she might be able to finish that dress of hers. Our man is not going to like us snatching him, ruining his night in more ways than one.” 

   A longshoreman walked in, skank-eyed the redhead, glanced at the sailors, and parked himself midway down the bar. The bartender poured a glass of Schlitz from the tap without asking. Schlitz had a brewery across the river in Brooklyn. The beer was as fresh as it could be. The longshoreman sloshed half the glass down his throat.

   “Did you say something to that guy I just saw outside?” he asked the bartender after wiping his mouth clean with his shirt sleeve.

   “The guy with the feather in his hat?” 

   “Yeah, that one, who said this joint stinks.”

   “That one comes in, wants a glass of water, and asks me what’s the quickest way to Mount Kisco,” the bartender said. “I ask him if he’s walking, or does he have a car? He says, getting huffy, of course I have a car. So, I tell him, that would be the quickest way.” 

   “He was chunky about it, that’s for sure. Hey, isn’t that redhead there Ratso’s girl?” 

   “Yeah.” 

   “Didn’t she tell those boys the gate is locked tight?” 

   “Yeah, but they didn’t give it any mind.” 

   “Oh, boy, they don’t know from nothing.” 

   “Stay outside the foul lines is what I say,” the bartender said, tapping his temple with two fingers.

   “You said it, brother.”

   Conner’s Public House was on the corner of Pearl Street and Plymouth Street. The Manhattan Bridge over the East River was a stone’s throw away. The Brooklyn Navy Yard was a cannon shot away. The new Con Edison Hudson Avenue substation, north of John Street facing the river between Jay Street and the Navy Yard, was a light switch away.

   “Did you see the game on TV Friday?” Giles asked.

   “I saw the problem crystal clear in black and white,” Rocky said. “No matter that Mickey is going to win the Triple Crown, no matter how many runs they score, if they keep giving up a dozen, they are not going anywhere in October, no matter who they play.”

   The New York Yankees had been in Boston for the weekend, for their last season series at Fenway Park. On Friday night Mickey Mantle hit a home run that tape measured more than five hundred feet. The Bronx Bombers, though, set a dubious club record by stranding twenty runners on base. Yogi Berra threw a man out at the plate. Mickey Mantle threw a man out at the plate. The Yankees crossed the plate plenty enough themselves. But the Red Sox still beat them, sending almost twice as many runners safely across the plate, 13 to 7 at the final count. 

   The Mick had three hits. Bill Skowron had five hits. The only time the Moose failed to reach base was when Bean Town’s Ted Williams made an all-out running diving catch of a screaming line drive in left field. “He was running like a bunny with his tail on fire,” Red Barber told his listeners, after the outfielder got up, checking his body parts for damage.

   “That ball is go-ing, go-ing, gonnne!” Mel Allen blared when Mickey Mantle hit his tape ribbon blast. “It’s got to be one of the longest homers I’ve ever seen! How about that!” Mel Allen and Red Barber, who was known as ‘The Ol’ Redhead,’ called the night game on WPIX. The station’s transmitter was on top of the Empire State Building from where it spread the play-by-play to the five boroughs. The next morning it would be Officer Joe’s turn. The year before, the weather forecaster Joe Bolton had put on a policeman’s uniform and started hosting shows based around the Little Rascals and the Three Stooges. Gotham’s kids loved Officer Joe’s taste in comedy.

   Rocky had watched the game at Conner’s Public House, on Friday night two nights earlier, at the far end of the bar, where one of the bar’s two RCA Victor portable TV’s squinted down at him from high up on the wall.

   “Did you say something?” one of the sailors said, turning to Giles and Rocky in the booth opposite them. “And turn that boob tube down,” he demanded of nobody and everybody.

   “Mind your own business,” somebody at the bar watching the TV shouted.

   “Hello there everybody,” Mel Allen said on the televised live baseball game broadcast. “This is Red Barber speaking,” Red Barber said. “Let me say hello to you all. Mel and I are here in the catbird seats.” The game went into extra innings. The cats curled up under the seats and the birds flew back to their nests.

   “Hey, did you hear me? I’m talking to you.” The sailor with a chip on his shoulder turned his Tab Hunter face to stone while he waited.

   “Three and two. What’ll he do?” Mel asked as the game neared its end and the last Yankee hitter squared up in the batter’s box. 

   “He took a good cut!” the broadcaster exclaimed when the pinstriped slugger struck out to finish the game. “Tonight’s game was yet another reminder that baseball is dull only to dull minds. Signing off for WPIX, this is Red Barber and Mel Allen.” 

   “Hey, you, did you say something about toy boats?” the sailor demanded, standing up, his friend standing up, too. In the meantime, Ratso Moretti was  walking the length of the bar from the men’s room towards them, having spotted shore leave buzzing around his queen bee. The redhead swung her stool around to the bar, uncrossed her legs, and played with the swivel stick lolling in her gin martini glass.

    “Who the fuck are you two rags?” Ratso barked at the sailors, glaring up at them from under the brim of his black pork pie hat, baring his sharp front teeth. “Why are you sitting with my lady friend? You two achin’ for a breakin’?” 

   Giles and Rocky leaned back on their seat cushions, their backs against the wall. Rocky stretched his legs out. Giles popped a toothpick into his mouth. The show in front of them was better than anything on TV.

   “Do you plan on doing the breaking by yourself, little man?” asked the bigger of the two sailors. Ratso wasn’t a midget, but he was far from tall. The sailors were both tall. Ratso took one step back, reached for his fly, unzipped it, and pulled out the handle of a Smith & Wesson Chief’s Special. It was the kind of gun carried by plainclothes and off-duty policemen. He kept his hand on the gun while looking straight at the two sailors.

   “Hit the road, Clyde,” he said. “You, too, whatever your name is.”

   The sailors backed away, keeping their eyes on Ratso’s groin, and backed out of the bar.  Nobody paid any attention, but everybody kept all their attention on the tactical retreat out of the corner of their eyes. When the white uniforms were gone, and he had zipped his pants back up, Ratso sat down next to his lady friend and wrapped his arm around her waist.

   “Meanwhile, back at the ranch,” Rocky said.  

   “At least now we know where he hides it,” Giles said.

   Bartek and Karol were at the far end of the bar. The Poles had come with Rocky and Giles, the Lithuanian boys, but gone into the bar separately. They didn’t want anything to happen just now. They wanted Ratso to stay cozy with his lady friend, drinking like closing time was never going to happen. They wanted him to waste the night and get wasted doing it. There were four of them and only one of him, but he was a psycho killer. Karol knew it for sure, and told the others, and it was the number one thing, he said, that they had to remember. There was no sense in letting their back door appointment go down the drain.

   “Did you find a plumber this morning?” Rocky asked Giles.

   “No, because not only does God rest on Sundays, so do all the plumbers in Brooklyn.”

   “What did you do?

   “I fixed it myself.” 

   One of the toilets in the women’s bathroom in the parish hall next door to St. George’s Catholic Church on York Street sprang a leak after mass. The Lithuanian Roman Catholic house of worship was around the corner from the Irish Roman Catholic St. Ann’s church on the corner of Front and Gold Streets. Lithuanians made up more than half of everybody who lived in Vinegar Hill, but they had never been welcomed by the Irish, who were there first, so they built their own. 

   St. George’s had three arched doorways, three arched second-story window assemblages, and a stepped façade with a cross on top. It looked first-class when the sun was shining on it. It looked first-class in a thunderstorm. It looked first-class every midnight mass on Christmas Eve.

   “What was the problem?”

   The parish priest had dragooned Giles on his way out of the parish hall. “Prasome, gali padet?” the priest asked. 

   “The wax ring, that’s all it was,” Giles said.   

   “Where did you find a wax ring on a Sunday?”

   “My old man. He’s always loaded for bear. He had two of them.”

   “Did you miss breakfast?” 

   “No, mom warmed it back up for me, fried some more eggs, fresh coffee, and a torte.” 

   When Ratso hopped off his bar stool, and his lady friend slid off hers, and they walked out the front door, Karol and Bartek went out the back door. Giles and Rocky followed Ratso out the front door. The bartender knew something was up, but he didn’t know what it was. Whatever it was he hoped the gun crazy Ratso didn’t come back anytime soon. The man was a menace.

   “Goddamn it!” Ratso cursed turning the corner into the quiet side street next to Conner’s Public House. It was where he had parked his new car. He looked down at the driver’s side front tire Karol had stuck his switchblade into just before going inside. 

   “Motherfucker!”

   “What’s the matter mister?”  Giles asked. 

   “Flat tire,” Ratso said. He recognized the young man and the other one from the bar.

   “Need a hand?”

   “I’ve got all the hands I need,” Ratso said.

   “Suit yourself.”

   Giles fired up a cigarette, watching and waiting. Rocky leaned against a lamp pole. Ratso opened the trunk of the car, looking over his shoulder at them, and hunched down next to the tire to loosen the lug nuts.

   “This ain’t no show,” he said.

   “It is to us.” 

   “Suit yourself.”

   As Ratso struggled with the last stubborn lug nut, Giles flicked his still lit cigarette butt at the redhead, who was staring into space, bouncing it off her midriff. She squealed in surprise and outrage. Ratso turned toward her. Giles, Rocky, Karol, and Bartek rushed him, two from the front and two from the back. As Ratso started to stand up, Karol kicked him as hard as he could in the groin, the holstered gun he was reaching for adding insult to injury. He doubled over, grabbed his stomach, fell over, and lay squirming on the ground in a fetal position. His eyes ran with pain and he threw up half-digested pickles mixed with whiskey.

   Karol tied his hands behind his back with clothesline. Bartek reached into the front of Ratso’s pants and pulled out the small revolver. He threw a muslin cloth bag over the man’s head and tightened the drawstring. He went to the passenger side front door of the new Chevy and tossed the gun into the glove box.

   While Giles and Rocky hauled him to Karol’s 1947 Kaiser Special behind Connor’s Public House, Bartek turned to the redhead. He looked her over one last time. She would be worth going to confession for.

   “Vamoose,” he said. “And keep your mouth shut, or we’ll take you next.”

   She backed away, smoothed her skirt, gave him a smile, cute snaky cunning, light on her feet, and went back into Conner’s Public House.

   “Durna mergaite,” Giles said.

   “Yeah, but steamy hot,” Rocky said.

   “Going to make a hell-wife.”

   “Thanks, boys, we’ll settle up tomorrow,” Karol said when Ratso was safe and sound in the trunk, his feet tied together and hog-tied to his bound wrist. He lay like a sad sack of potatoes on his side limp and groaning. Giles touched his forefinger to his thumb and pointed the remaining three fingers of his right hand straight up.

   At the mouth of the intersection, the Kaiser Special backfiring down the street, they heard a bullhorn on the corner. “Get your knishes, I got to send my wife on vacation, get your hot knishes.” The street vendor’s truck was light blue, dented, and dirty. It was three-wheeled, a cab pulling a cart, with a Saint Bernard-sized pretzel on top. A sign on the side said, ‘Hot knishes & pretzels, 10 cents, 3 for $.25.’

   “Hey, what kind of knishes do you have?”

   “I have kasha and potato.”

   “I’ll take three potato.”

   “Sorry, all I have is kasha.”

   There was a tin saltshaker secured by a string to the cart. The pastry was hot with buckwheat groats inside of it. The brown bag the street vendor put them into instantly became saturated with enough oil to deep fry three or four more knishes. He poured in a handful of salt.

   “You’re outside of your neighborhood, working late,” Giles said. 

   “It’s my wife,” the Jew said. “ She has dreams of going to the Browns Hotel in the Catskills where it’s all-you-can-eat.” Giles and Rocky both got bottles of Orange Crush. They tossed the bottle caps into the street. When they finished their knishes they threw the bags into the street, too.

   Karol and Bartek drove to Sunset Park, turned onto 53rd Street at 3rd Avenue, and finally pulled into and parked behind a three-story abandoned brick building. On the side of the building a painted billboard advertising “LuSair & Sons, Men’s Clothes” was fading away. The storefront’s windows were boarded up. The other windows on every floor were dark. They bull rushed Ratso through a back door and into a dank room. A table lamp on the floor tried to make sense of the dark. Stan Riddman was standing in a corner in the gloom smoking a cigarette. They dropped Ratso on the floor. Bartek went to the door and stood guard.

   “Let him loose, except for his hands,” Stan said.

   Karol untied Ratso’s feet, yanked the bag off his head, and moved away to stand next to Bartek at the door. Stan stayed where he was, in the shadows. Ratso stayed where he was, too. He felt better, but he still felt horrible. He had an awful stomachache. His nuts hurt like hell.

   “Tell me about Jackson Pollack,” Stan said.

   “I don’t know no Polacks,” Ratso said, struggling to get to his knees. 

   “You know us now, brother,” Karol said under his breath.

   “Not Polacks. I said Pollack, as in Jackson Pollack, the painter.” 

   “I don’t know no painters.”  

   “Why did you jump my associate the other night?”

   “I don’t know no associates,” Ratso hissed. “Who the fuck are you, anyway?”

   “I don’t know how your sack is feeling, but if it was me, I wouldn’t want it to happen again, especially not now, not so soon,” Stan said. “Know what I mean?”

   “What do you want?”

   “What were you doing in the middle of the night outside the shrink’s office? Why did you jump my man? What does Jackson Pollack have to do with Big Paulie?”

   “You’re a dead man when Luca finds out,” Ratso exploded, quivering with rage.

   Stan stepped forward, bent down, and framed an inch with his fingers. He put his fingers within an inch of the mob man’s washed-out face.

   “You’re this close to being a dead man,” he said.

   Stepping away from the Ratso, he aimed a kick at his groin. The yobbo weasel rolled over like a seal. Stan kicked him in the side, aiming for his kidney. Ratso gasped in pain and rage. Stan stepped over him, bent down again, and went man to man with the pain and rage. 

   “You’re going to tell me what I want to know,” Stan said.

   It didn’t take long. Stan had learned some things during the war that made him a quick and  effective interrogator. After Ratso ratted out Big Paulie and Park Avenue and they had hog-tied him again, Stan and his Polack’s left. Stan whistled down a cab. He stopped at a phone booth on his way home. The cab driver waited at the curb. He called the desk sergeant at the 17th Precinct. He told him where to find Ratso, told him he wanted to confess to assaulting Ezra four nights earlier, and wanted to be held in custody for his own safety.

   “Does he need medical attention?” the desk sergeant asked.

   “No, he’ll be fine, just a few bumps and bruises.” 

   “What do I tell the captain? Is anybody going to be looking for this Morelli, trying to spring him?”  

   “Nobody except his bedroom girl knows anything, but she was a good girl the last time we saw her and promised to stay quiet as a lamb. Ratso’s Chevy is just outside Conner’s Public House in Vinegar Hill. His gun is in the glove box. It’s a Chief’s Special.”

   “You don’t say.”

   “You ought to have that gun checked out. Ballistics might find it matches something.”

   “OK, we’ll have a car there in five minutes-or-so.”

   Five minutes later three policemen and a plainclothes officer spilling out of two cars flash-lighted their way into the building, hauled Ratso Moretti out, untied him, handcuffed him, tossed him face first into the back of one of the radio cars, and drove him to the 17th Precinct. They manhandled him into a basement cell at the end of a hallway and forgot about him for the rest of the next week.

   A half hour later Stan was home in Hell’s Kitchen, leaning back in one of his two orange wingback armchairs, a bottle of Blatz on the coffee table, while Mr. Moto groomed his hindquarters on the sofa on the other side of the table. Stan took a pull on his bottle of beer and watched the cat. He had considered getting another one to keep him company, but Mr. Moto didn’t seem to mind his solitary life. 

   The black cat slept and ate and slept some more every day. He went on the prowl. Sometimes he sat on the fire escape, seeming to be thinking. When it came to chow, Mr. Moto liked Puss ’N Boots best, and fish followed by chicken followed by beef followed by any other meat. He wasn’t picky. He didn’t think it did any harm to ask Stan for what he wanted, since the story of cats was the story of freeloaders. Stan kept the tomcat happy with his poker winnings.

   Mr. Moto wasn’t a mixed-up cat. He lived day-to-day, every day a new day, taking what came his way. He liked fresh water and food in the morning. “Puss ‘N Boots adds the Plus!” He liked taking a long nap from late morning into the late afternoon, and liked a clean box of kitty litter when he couldn’t get down to the flowerbeds.

   “Ask Kitty about the new Kitty Litter. She knows! It absorbs and deodorizes. Takes the place of sand.” 

   Stan had stopped at Manganaro’s Grosseria on his way home for a slice of Hero-Boy. The mom and pop and family was a grocery, sandwich shop, and restaurant on 9th Avenue. The end-to-end six-foot Hero-Boy, if you wanted it, was 22-pounds and cost $16.50. The in-bred wait staff was surly, but the sandwiches were worth the wait. He took a bite, chewed, and washed it down with his beer.

   Ezra Aronson was out of the hospital. He would stop and see him in the morning, tell him they had snatched Ratso, who had spilled his guts, but that it still wasn’t clear what was going on. It looked like Dr. Baird had engineered Jackson Pollack’s death somehow, but why? Where was the pay-off in it? Vicki Adams said that since Jackson Pollack died young there weren’t going to be any more paintings by him. Since there weren’t going to be anymore, and since he was well known, by collectors and museums, prices for his art were going to go up. 

   “He was in demand, now he’s in big demand, especially the drip paintings,” Vicki said. “But nobody kills a painter to make a profit on his art, not even here in New York. It’s a long-term investment, not like kidnapping somebody today for the ransom tomorrow.”

   He and Betty would sort it out soon enough. He finished his sandwich, finished his bottle of beer, and went to bed. Mr. Moto followed him, curling up just inches from Stan’s face, and was asleep fast faster fastest. He had never been bothered by insomnia. He could fall sleep in the blink of an eye.

   In the middle of the night, in the middle of a dream, he pricked up his ears. Mr. Moto could smell mischief when something was afoot. When he went to the bedroom window, though, it was just a ladybug on the sill. It was red with black spots. He stretched up on his hind legs and sniffed the bug, which opened its wings, flew in circles, and landed on his nose.

   “Ladybug! Ladybug! Fly away home. Your house is on fire. Your children shall burn!”

   Mr. Moto believed ladybugs were lucky bugs. He believed when a ladybug landed on you your wishes would be granted. He also believed it was unlucky to harm them. He licked the bug off his nose and spat it out through the open window. He jumped on the ledge, crouched, and watched the bug fly away into the big city.

   In his jail cell at the bottom of nowhere, Ratso Moretti tried to stare down the foot-long rat staring back at him. The rat wasn’t having any of it. Nobody was going to stare him down in his own kingdom. He and Ratso spent the rest of the night keeping tabs on one another.

   Four hours later, near the end of the night, near the break of dawn, while a dead on his feet policeman watched, now that it was all over and the car had been searched and dusted for fingerprints, a tow truck hooked the new Chevy with a flat tire and dragged it off Vinegar Hill to the NYPD Tow Pound.

Excerpted from the crime novel “Cross Walk.”

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Ohio Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”