Lydia DavisHandelI have a problem in my marriage, which is that I simply do not like George Frideric Handel as much as my husband does. It is a real barrier between us. I am envious of one couple...

Lydia Davis Handel I have a problem in my marriage, which is that I simply do not like George Frideric Handel as much as my husband does. It is a real barrier between us. I am envious of one couple we know, for example, who both love Handel so much they will sometimes fly all the way to Texas just to hear a particular tenor sing a part in one of his operas. By now, they have also converted another friend of ours into a lover of Handel. I am surprised, because the last time she and I talked about music, what she loved was Hank Williams. All three of them went by train to Washington, D.C., this year to hear Giulio Cesare in Egitto. I prefer the composers of the nineteenth century and particularly Dvořák. But I’m pretty open to all sorts of music, and usually if I’m exposed to something long enough, I come to like it. But even though my husband puts on some sort of Handel vocal music almost every night if I don’t say anything to stop him, I have not come to love Handel. Fortunately, I have just found out that there is a therapist not too far from here, in Lenox, Massachusetts, who specializes in Handel-therapy, and I’m going to give her a try. (My husband does not believe in therapy and I know he would not go to a Dvořák-therapist with me even if there was one.) Questions: What can be concluded about the narrator’s voice? Is the problem truly about Handle? Where is desire in the story? Is the narrator “pretty open”? Why does not she love Handle? What does L. Davis say about marriage, about therapy, about trying to mirror the relationships of others? How Difficult For years my mother said I was selfish, careless, irresponsible, etc. She was often annoyed. If I argued, she held her hands over her ears. She did what she could to change me but for years I did not change, or if I changed, I could not be sure I had, because a moment never came when my mother said, “You are no longer selfish, careless, irresponsible, etc.” Now I’m the one who says to myself, “Why can’t you think of others first, why don’t you pay attention to what you’re doing, why don’t you remember what has to be done?” I am annoyed. I sympathize with my mother. How difficult I am! But I can’t say this to her, because at the same time that I want to say it, I am also here on the phone coming between us, listening and prepared to defend myself. Questions: who is the narrator’s voice talking to? What is the significance of repetition? What does the story say about relationship? What can be concluded about “time” and “change” themes that the story explores? New Year’s Resolution I ask my friend Bob what his New Year’s Resolutions are and he says, with a shrug (indicating that this is obvious or not surprising): to drink less, to lose weight…He asks me the same, but I am not ready to answer him yet. I have been studying my Zen again, in a mild way, out of desperation over the holidays, though mild desperation. A medal or a rotten tomato, it’s all the same, says the book I have been reading. After a few days of consideration, I think the most truthful answer to my friend Bob would be: My New Year’s Resolution is to learn to see myself as nothing. Is this competitive? He wants to lose some weight, I want to learn to see myself as nothing. Of course, to be competitive is not in keeping with any Buddhist philosophy. A true nothing is not competitive. But I don’t think I’m being competitive when I say it. I am feeling truly humble, at that moment. Or I think I am—in fact, can anyone be truly humble at the moment they say they want to learn to be nothing? But there is another problem, which I have been wanting to describe to Bob for a few weeks now: at last, halfway through your life, you are smart enough to see that it all amounts to nothing, even success amounts to nothing. But how does a person learn to see herself as nothing when she has already had so much trouble learning to see herself as something in the first place? It’s so confusing. You spend the first half of your life learning that you are something after all, now you have to spend the second half learning to see yourself as nothing. You have been a negative nothing, now you want to be a positive nothing. I have begun trying, in these first days of the New Year, but so far it’s pretty difficult. I’m pretty close to nothing all morning, but by late afternoon what is in me that is something starts throwing its weight around. This happens many days. By evening, I’m full of something and it’s often something nasty and pushy. So what I think at this point is that I’m aiming too high, that maybe nothing is too much, to begin with. Maybe for now I should just try, each day, to be a little less than I usually am. Questions: what can be said about one’s desire “to be nothing”? What is “to see”? any similarities with previous stories we read? dream The Landing Just now, during these days when I am so afraid of dying, I have been through a strange experience on an airplane. I was on my way to Chicago to take part in a conference. The emergency occurred as we were approaching the airport. This is something I have always dreaded. Each time I fly in an airplane, I try to make my peace with the world and gain some final perspective on my life. I always do this twice on the flight, once before takeoff and once before landing. But there has never before been anything worse, on any of these flights, than ordinary turbulence—although of course when the turbulence begins, I don’t know that it will be nothing more than ordinary turbulence. Questions: what is to be “so afraid”? why “more than ordinary”? what does this say about the narrator? This time something was wrong with the wings. Some flaps were not opening that were supposed to slow the plane down as it approached the runway, so it was going to have to land at a very high speed. There was a danger that when it landed, going at such a high speed, a tire could burst and the plane might spin and crash, or the wheels could collapse and the plane might slide on its belly and catch fire. The announcement, from the pilot, terrified me. The terror was very physical, something like an icy bolt down my spine. With his announcement, everything had changed: we might all die within the next hour. I looked, for comfort or companionship in my fear, at the woman in the seat next to me, but she was no help, her eyes closed and her face turned away towards the window. I looked at other passengers, but each seemed absorbed in comprehending what the pilot had said. Questions: do we know that the announcement is true? What is “to store” for the narrator? How is this related to time? I, too, shut my eyes, and held on to the arms of my seat. A little time passed, and then there was a clarification from the steward, who announced approximately how long we would be circling above the airport. The steward was calm. As he spoke, I kept my eyes fixed on his face. This was when I learned something I stored away to remember later, on other flights, if there were to be other flights: if I was worried, I should look at the face of the steward or stewardess and read his or her expression for a clue as to whether I should be worried or not. This steward’s face was smooth and relaxed. The emergency was not one of the worst, he added. I looked across the aisle and met the eyes of a passenger in his sixties who was also calm. He told me he had flown over nine million miles since 1981 and experienced a number of emergency situations. He did not go on to describe them. But now the steward was doing something that only intensified my fear: still calm, but perhaps with the calm of fatalism, I now thought, fatalism produced by his long training and experience, or perhaps simply an acceptance of the end, he was instructing the people in the first row point by point what each of them was to do in case he himself became incapacitated. Watching him instruct them, in my eyes they were suddenly elevated from being mere passengers to being his assistants or deputies, and I saw him, already, reduced to helplessness, dead or paralyzed. Even if only in my imagination, the fatal crash was already imminent. At that point, I realized that anything other than routine behavior from a steward or stewardess would alarm me. Questions: what is “dying” for the narrator? When is she most alive in the story? What is “to be at peace” for the narrator? Our lives might be almost over. This required an immediate reconciliation with the idea of death, and it required an immediate decision as to the best way to leave this world. What should be my last thoughts on this earth, in this life? It was not a matter of looking for solace but for acceptance, some way of believing that it was all right to die now. First I said goodbye to certain people close to me. Then I had to have a larger thought, for the very end, and what I found to be the best thought was the thought that I was very small in this large universe. It was necessary to picture the large universe, and all the galaxies, and remember how very small I was, and then it would be all right that I should die now. Things were dying all the time, the universe was mysterious, another ice age was coming anyway, our civilization would disappear, so it was all right that I should die now. While I was thinking this large thought, my eyes were again shut, I was clasping my hands together until they were moist, and I was bracing my feet very hard against the base of the seat in front of me. It wouldn’t help to brace my feet if we had a fatal crash. But I had to take what little action I could, I had to assert my tiny amount of control. In the midst of my fear, I still found it interesting that I thought I had to assert some control in an uncontrollable situation. Then I gave up taking any action at all and observed another interesting thing about what was happening now inside me—that as long as I felt I had to take some action, I was anguished, and when I gave up all responsibility and stopped trying to do anything at all, I was relatively at peace, even though the earth meanwhile was circling so far below us and we were so high up in a defective airplane that would have trouble landing. The airplane circled for a long time. Either later, or at the time, I learned that while we were circling, preparations were being made on the ground for an emergency landing. The longest runway was being cleared, because the plane would be coming in at a high speed and would therefore have to travel a long way as it slowed down. Fire engines were brought out and parked by the runway. There were several possible problems with landing at such a high speed. The wheels could give way and collapse, the plane then coasting on its belly. The friction of coasting could cause a fire, or the speed of the plane could cause it to tip forward, crushing its nose. If the plane was coasting on its belly, or if a tire burst, the pilot could lose control of the steering and the plane could veer off the runway and crash. Questions: what does the story tell us about human imagination? Living? Dying? What role time plays in this process? At last the long runway was clear and the fire engines were in place, and the pilot began the descent. We passengers could not perceive anything out of the ordinary in the way he was flying the plane during the descent, but as the moment came for landing we grew more nervous: whereas before, the possible disaster was in our near future and we were still untouched, now it was just moments away. In a normal landing, a plane comes in quite steeply, maybe at a 30-degree angle, and it often then bumps or bounces a little on the ground as it makes contact. Moving at such a high speed, we could not safely do that, so the pilot descended in wide circles almost all the way down to the ground before he headed for the runway, approaching it so low that its path was at almost no angle to the ground. In order to have the whole length of the runway for decelerating, he touched the plane down as soon as