“The Apocalypse Has Been Postponed Until Gym”: My Last Year of High School & the End of the World, Part I

“But which is more important:

To comfort an old woman

Or see visions of the heavens

In the stumps of fallen trees?”

            — The Handsome Family, “Lake Geneva”

 My last year in high school was a strange time in my life.

 

It’s a year that I haven’t talked much about since I left the dangerous group a few years ago because it’s hard to describe what happened without sounding a little insane. But I’ll try.

 

Eric Booth had been my best friend for about three or four years. To the rest of our friends, we were an inseparable duo, one of the classic teams, like Butch Cassidy and the Sundance Kid. Boze and Booth. We were always getting into trouble and wreaking havoc.

 

And we were a great match. Booth was tall, outgoing, and good with women. I was quiet, bookish, a little awkward, and spent most of my time writing down entire conversations in a notebook I carried around everywhere. And while I was whimsical, romantic, and full of weird ideas, Booth was rational, pragmatic, and rigorously logical. (Once when a friend boasted that she was “one in a million,” Booth did the math and pointed out that there were at least 6,000 of her.)

 

Me, my senior year of high school

Booth and I had a teacher I’ll call Mr. McGowan. Mr. McGowan was our European History teacher, but he seemed to view himself as an entertainer first and teacher second. On the first day of my last year in Alvin in 2003, the day our story begins, he delivered a ten-minute monologue on the day’s news. “My Middle Eastern friend hasn’t been happy ever since we had that talk about Allah,” he said. “You know, Allah this, Allah that…”

 

(“Welcome to Mr. McGowan’s stand-up comedy class,” whispered Booth.)

 

I’d been feeling sort of anxious about going back to school. So, to alleviate my concerns, Booth tried to think of the worst things that could possibly happen. “Watch, you’ll get put in the Criminal Law class!” he teased me. To our friend *Brandon he said, “Your counselors will mess up your schedule so bad, you won’t be able to fix it. And, you’ll get put in Child Development with all the pregnant chicks!”

 

So our whole first day back at school was interesting, because yes, I did get put in Criminal Law, even though I hadn’t signed up for it. When Brandon went to the counselor that afternoon to complain about his schedule, she tried to put him in Child Development. By the end of the day Booth had also correctly predicted that *Lauren, a girl I was interested in, would call me, even though she hadn’t done so in almost two years.

 

But we thought it was all just an incredibly weird string of coincidences—until the next day.

 

New England was experiencing a tremendous electrical shortage. The night before, over 45 million Americans had lost power in eight northeastern states. Mr. McGowan decided to begin his daily monologue by plugging the virtues of the Texas electrical system when compared to the infrastructures of New York and California (which was currently going through a recall election in which actor Arnold Schwarzenegger was the clear frontrunner).

           

“See, here we have a superior electrical system,” said Mr. McGowan, slowly warming up to his audience. “On the East coast, their facilities are sixty and seventy years old, and no one even knows how to fix ‘em anymore. Whenever a generator blows, they have to call out these really old men to take care of it. That’s why the New York electrical system sucks!”

 

Booth leaned over and whispered, “Watch, the lights suddenly go out!”

 

“Oh, and Ah-nold!” said Mr. McGowan, shaking his head and grinning slightly. “Can you imagine? ‘Governor Schwarzenegger, we have a problem with immigration!’” He held up an imaginary gun. “‘I VILL TAKE CARE OF IT!’”

 

But at that moment the laughter of the class was interrupted by the lights going out. There’d been a power spike across the entire east side of Alvin and over a thousand homes had lost power.

 

Booth denied it as best he could, but I could no longer doubt it: he was a prophet. Something strange and uncanny was happening in Alvin, and him and me and Brandon were about to be swept up in it.

 

*           *           *

 

Brandon and I became convinced that tragedy was going to strike our campus. In the swirl and haze of late summer, omens were all around us. Thirteen ravens sitting on a power line, the mysterious imprint of a child’s hand on the window of a car, the continual recurrence of the number 42. One Sunday the Houston Chronicle’s daily Bible verse was Isaiah 13:13, in which God warns that judgment is about to fall on the land.

 

On the thirteenth day of school the three of us took a walk around campus during our last class, and we saw some strange things. Total strangers who looked just like people we knew (“Doppelgangers,” I explained to Brandon. “Omens of death”). Two ambulances flashing their sirens in the exact same place. (We fled when we heard a third one coming).

 

The whole day had a weird, uncanny quality about it. Booth and I spent most of the evening on the phone, speculating about what it all could mean. But then at about a quarter to nine, Brandon called and explained everything. The parents of a good friend of ours had just been caught up in a high-speed police chase. A man had rammed their car, and the three of them had been life-flighted to a hospital.

 

“Do you need me to spell it out for you, Boze?” said Brandon darkly. “We know two of the three people in that accident. Just like we saw three ambulances, but only heard the third one.”

 

“We saw it,” I said quietly, my eyes brimming with sudden awareness. “We saw the whole thing.”

 

“Yes,” said Brandon. “And this is only the beginning. Whoever is behind this is trying to warn us of something. Something big that’s about to happen. Someone is going to die, unless we can stop it.”

 

*           *           *

 

The whole world had become a secret code begging to be deciphered by us. At first it was an exhilarating feeling, being privy to secrets that were hidden from the rest of our classmates and teachers. Mr. McGowan, the only person who seemed willing to listen, encouraged us to stay alert and pay attention to the numbers and patterns all around us.

 

He urged me to keep journaling our encounters, but he also advised caution. “Your senses are keen and you’re making connections; you just may not be correct about them. That’s the strength of a novel: it’s fun.”

 

And it was, at first. But the longer it went on, the lonelier I felt. I was getting trapped in the maze of my own connections, and I wanted out, but there was no way back. Sometimes when I went into the cafeteria at lunch I would see four people I knew in succession, and the order in which I saw them would show me, with uncanny precision, how my relationships would unfold going into the next semester: which of my friends would suddenly betray me, which one would make an unexpected return to my life. And I was never wrong, and it was scary, in a way, because I felt sure I could see the future but I didn’t have anyone else except Brandon and Booth who believed me, and increasingly I felt isolated even from them.

 

And sometimes I wondered if I really was crazy, like that woman in the old song “who wrote poems to Jimmy Carter but forgot to feed her kids.” Though, as the first trimester of school wore on, a lot of strange things were happening and people were beginning to notice. Booth and our friend *Adriana had the same dream on the same night. I heard the exact words Brandon was thinking, as though he had said them aloud, as I lay on the floor half-asleep. Mr. McGowan’s wife saw an angel in their house.

 

*           *           *

 

In November I reconnected with *Blazes O’Reilly, a friend who had recently left Alvin to attend an advanced school for mathematics in north Texas. Blazes had been in love with Booth for a long time. (Those were his two major temptations, he had once told me: homosexuality and witchcraft). Before we’d been on the phone for more than a minute I asked if anything strange had happened to him lately.

 

“Funny you should ask,” he said. He told me that since the middle of August demons had tried to possess him on ten different occasions. He would start cursing and throw his promise ring across the room. “It’s like Satan and the angels are fighting a war over my body,” he explained matter-of-factly.

 

“And what do you think it all means?” I asked.

 

“Well, I was going to say, you’re going to think I’m crazy, but after the story you just told me, I’d be very surprised. I think we’re heading into a major spiritual battle, possibly the final battle, and both sides are gathering their key forces for a major offensive.”

 

Blazes O’Reilly seemed to think I had a major role to play in the final end-times battle. That was insane, crazy. I told no one what he had said to me on the phone that night, because my reputation had already suffered enough.

 

A few weeks later, on a cool, sunny Saturday, Adriana came and sat down next to me at a UIL competition in San Antonio. She was a thin, quiet girl with short black hair and blue, sprightly eyes, and every time she watched the trailer for The Return of the King she wept, because it reminded her “of the great battle that is coming for us all.”

 

“What would you say if I told you that Jesus is going to return in our lifetime,” she asked me, “and that I will be one of his closest followers?”

 

I was too polite to tell Adriana what I really thought, which is that it sounded like Satan was preparing her heart to receive the Antichrist.

 

But apparently Adriana had similar feelings. Feeling encouraged by our conversation, she wrote me a letter that weekend. In it she revealed the horrible truth about her life. In dreams and visions God had shown her that she was soon going to meet the Antichrist. She would fall hopelessly in love with him, and the fall of men would begin.

 

“In a battle,” she wrote, “my love will be wounded and killed, though not by my hand, and he rises again. In the last battle, I am able to get past his defenses and, in the most horrifying moment of my life, kill the darkest love in the universe. And though I realize that I have saved my life and my fellow men, I know that my life will never be normal. I will never again feel the all-powerful passion of that love or the security of that touch. Though I know it was worth it, I can’t help but hate the loneliness that will accompany me for the rest of my life.

 

“Can I deny this fate and give it to someone else? And if I do, will there be someone to answer my call? Am I the only one who can achieve this end? I need to talk to someone, but no one but you believes me.”

To be concluded tomorrow in Part 2.

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“One More Dawn, One More Day”: 3 Moments of Storytelling Brilliance

A good story, whether in the form of a song, novel, TV series, or movie, should give the illusion that you’re experiencing something new and unprecedented. There’s a moment near the end of the story where the heroes find themselves in a unique situation facing extraordinary challenges, and the hair on the back of our necks stands on end because we know we’re witnessing the culmination of a series of choices, and if any of those choices had been different, this moment would never happened.

It’s thrilling. It gives us a rush because we know life is like that. There’s a grandeur that invests even the smallest moments because we have a dim appreciation of what it took to get here.

The following are three of my favorite storytelling moments across all media, moments where a protagonist revealed his or her true quality and the brilliance of the narrative mechanisms on display were like nothing I had seen before.
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“I made a promise, Mr. Frodo”: Fellowship of the Ring (2001)

With all the computer-effects wizardry and operatic spectacle of the later films, it can be easy to forget the promise of Peter Jackson’s first foray into Middle Earth, The Lord of the Rings: The Fellowship of the Ring. The genius of the first movie (and, to a lesser extent, The Two Towers) is that they somehow married the scale of an epic fantasy story with the intimacy of a small character drama. This was never more apparent than in the under-stated denouement of Fellowship, in which human warrior Boromir dies protecting two Hobbits after nearly betraying Ring-bearer Frodo Baggins. Frodo makes his escape by boat, thinking to finish the journey alone. But his gardener Sam Gamgee has other plans, and it’s in showing how the two of them end up together that the films have one of their best moments.

 

The Death of Krishna: The Mahabharata (1989)

The ancient Indian epic The Mahabharata, the longest poem ever written (two million words in 17 volumes), has a cast so large and a story so convoluted it rivals the Lord of the Rings, featuring demons, gods, weird monsters, vengeful reincarnations, and a magical weapon with the destructive capacity to annihilate an entire planet. But the narrative thread holding the story together (and keeping it from buckling under its own weight) is the conflict between the Kauravas and Pandavas, two halves of one family who are determined to exterminate each other.

Hovering in the background of this out-of-control family quarrel is the mysterious figure of Krishna, who for much of the story seems to be just another member of the family (albeit one who is revered by all parties), but who reveals himself, in the poem’s most famous set piece, to be more than they had ever guessed. Naturally the question arises, “If you are a god, why can’t you stop this massacre?”

Peter Brooks’ five-hour 1989 film The Mahabharata plays up the more enigmatic aspects of Krishna’s character, suggesting that perhaps there’s a more sinister agenda behind his ostensible attempts at peace-making. But the film’s best moment comes at the end when Krishna, wounded and dying, reveals that he’s just as confused and vulnerable as anyone else in the story. A young boy asks him, “Krishna, tell me quickly: why all your tricks and your bad directions?” Krishna responds with his last words: “I fought against terrible powers, and I did what I could.”

 

“One Day More”: Les Miserables (the Musical)

Victor Hugo’s sprawling, relentlessly poetic 1,400 page novel Les Miserables, which tells the story of an 1832 student uprising in Paris, boasts some of the most brilliant character arcs in literature. (The culmination of the longstanding feud between Javert, the police inspector, and Jean Valjean, the criminal-turned-mayor whom he has hunted for twenty years, deserves its own place on this list).

The musical Les Miserables takes all this plot and condenses it into a lyrical and at times devastating two-and-a-half-hour saga of war, vengeance, grace, redemption, and romance. The entire last half of the story functions as a series of climaxes. And while the tear-inducing lament of Marius on re-visiting the barricades where his friends met their grisly end is probably the emotional high point of the play, in terms of sheer narrative power, praise is owed to the entire sequence where Marius, Cosette, Eponine, and their love triangle is introduced, and especially the song “One Day More,” which takes the emotional journeys of ALL the characters, crystallizes them into a few simple verses and chorus, and reveals that in spite of their many conflicts, our heroes (and villains) have far more in common than they would ever admit.

 

The Secret of Good Fantasy is to Write Honestly

Photo Credit: Aine McVey

One of my goals for this year is to journal every day, which means I’ll probably be doing a lot more free-writing.

            I spent most of my Christmas break rewriting the first chapter of my book, just because I wanted to have a truly stunning first chapter. I finished it yesterday and sent it to three different people, seeking their opinions. It may need some revisions, but for the most part I actually really like it.

Some strange things happened as I was writing it. A few paragraphs into the chapter I realized that the only way forward was to talk about the fantasy stories I was dreaming up at around the time the novel begins. (Because the two main characters in these fantasies were fictional versions of me and *Rebecca, the fantasizing provides a commentary on the very real situations I’m describing).

Previously I had always been afraid to bring my imagination into the story because I felt it would alienate readers. (And also, I think, because *Timothy and Rebecca tried to tell me that my fantasies were evil and anti-social. Only in the last year have I begun rejecting the shame they spoke over me and embracing my calling as a storyteller).

What I found, though, was that being open about how much I used to fantasize actually made the story more realistic and grounded. Because the narrator is constantly explaining how he expects things to play out, watching them unfold in a much less dramatic way than he was anticipating creates a sense of realism. For example, there’s one moment in the first chapter where Rebecca has just finished giving a long speech about how reality is not a book, and I want so much to shake her hand and thank her for saying that, but I don’t. Instead, she goes into her room and shuts the door.

In earlier drafts of the novel, I would have been tempted to try and turn that into a big scene. But somehow, because it’s NOT a big scene (no matter how much I, the narrator, want it to be), it has more of an impact.

What surprised me even more is that, as the chapter was winding down, I found myself becoming obsessed with the most boring, minute, mundane aspects of the story. Reading back over it, my favorite moments are the dozens of small and apparently insignificant details, like the way Rebecca walks through the Cove with her hands in her back pockets, or how I say, “Hey,” and she doesn’t immediately respond, or how when we finish praying together I’m suddenly depressed because I’m afraid she’s going to admire me when all I wanted to do was to help her.

And yet the two BIG paragraphs that at first I was most excited about, the most poetic and “important” paragraphs in the chapter, fill me with an unsuppressed nausea. They don’t feel “real” to me in the way the smaller passages do.

And perhaps it’s just emblematic of a bigger change going on in my life. Because I grew up on Peter Jackson’s brilliant, amazing Lord of the Rings films, because those were my reality, I thought life would be full of grand gestures and vivid, emotional flourishes. I tried to shape reality to fit my preconceptions.

But over the last few months I’ve started to realize that reality is what it is, that there IS a real battle between good and evil but it takes place at the level of our mundane interactions. People have to eat and shower and do laundry and comb their hair and get their oil changed, pack their lunch in the morning and go to work each day. And for the most part we stand around looking bored and clueless, and there’s a lot of dead air in our conversations, and we accidentally talk over each other, and sometimes we don’t say what we mean to say and have to repeat ourselves, and we all spend twelve hours a day on Facebook and Twitter, and sometimes terrible things happen to people who didn’t deserve it, and that’s how life is, even if it’s not how it should be. But somehow God is gracious and we get to be heroes anyway.

And maybe in real life, being a hero is better than how it is in the movies, better and worse, because instead of battling sorcerers and Balrogs you have to fight REAL monsters, and that takes even more courage. I think I could stand up to a dragon; but after what I’ve been through in the last four or five years, no mythical creature will ever be quite as scary again. I’ve seen the face of true evil, and I think that smile will haunt my nightmares for a long time to come.

And I’m not giving up my love for fantasy, but as I get older the stories that continue to enchant me are the true ones: either those, like the novels of Tolkien, that radiate elemental truths about the nature of reality, or those like Harry Potter that take into account how people actually talk and think and feel and behave, so that I feel like I’m reading a real story about real people. Lousy case-of-the-week dramas, cheap end-times thrillers, and overblown Hollywood epics no longer interest me because they seem to be operating on an exaggerated and romantic notion of how the world should be rather than how the world is, and when I’m watching a movie the last thing I want to feel is concern for the writers, wondering whether they’ve ever had a real experience, whether they know anything about what life is like.

In the first chapter of my book I describe how Rebecca implored me to come out of my books and really experience reality instead of just reading about it. She taught me so much about how to live life, how to feel feelings, how to interact with real people. And to the extent that I didn’t figure out how to do that while she was living, I had to learn it in the aftermath of her death when every remaining illusion I had was shattered and I had to face the bitterness of mortality. She seemed to be fading into a fantasy more and more during our last years together, but because of her encouragement and example I was able to find my way back to reality. And I think I’ve “inherited” some of the pragmatism and realism she was always trying to pour into me (without a lot of success). That’s how I intend to live my life now. And when I finally sit down and write my fantasy novels, they’ll be weird and creative and surprising, of course, because I don’t think I can help being weird, but I want them to be true more than anything else, alive with the complexity and brokenness of ordinary life. And I think now they will be.

The Riddles of Tom Bombadil

[ Because The Hobbit comes out this week and I can’t think about anything else, all week long on my blog I’ll be posting meditations on some of my favorite moments from The Lord of the Rings, both novel and film. Today we venture into the Old Forest. ]

In September 2002, as I was beginning my junior year of high school, my best friend called me up on the phone.

“Boze, I have the most amazing movie,” he said. “You have to see it.”

I was immediately skeptical. Eric Booth and I had vastly different taste in movies. I preferred mystery-thrillers from the 1950s and ‘60s, which put him to sleep. And his one attempt to show me The Matrix hadn’t gone over well.

“What’s it called?” I asked, more out of politeness than genuine curiosity.

“Fellowship of the Ring,” he said in a tone of wonder.