Some experts say that occasionally it’s necessary to “take a break” from grief. I learned this firsthand during a frigid December 2020 Christmas day, 36 days after I lost my beloved 26-year-old son who died by suicide. My then 24-year-old daughter, Alexandra, returned home during this time, and we mourned together. Lounging in the living room in shabby sweatpants and tops, noshing on a conveyor-belt assortment of Trader Joe’s chips and other salty and sweet snacks that my dear childhood friend Anna supplied, we insulated ourselves, cranked up the heat indoors as the temperatures dipped to below freezing outdoors. Alexandra’s soft, furry slippers with funny smiling sloth faces, the ones that arrived a month prior in a condolence gift box from her former college roommate, Suzanna, felt like they were out of sync with the preceding extreme 36 days, oozing with despair, agony, regret, remorse and anger. We symbolized the walking wounded. Drained and hollow as if we were toilet plungers.
Who would believe that only a year prior, we were in New York City’s West Side in a beautiful church singing Christmas carols as if we were Carnegie Hall performers? Three hundred and sixty-five days later, half eaten tubs of white paper take-out food containers brimming with Chinese dumplings, noodles, fried rice and legions of lo mein lined the coffee table, our designated sanctuary, the view outside obstructed by the drapes drawn closed.
My daughter and I spent about twenty minutes scanning for TV channels to watch, searching for something to numb the pain. I finally surrendered to Alexandra’s request to watch The Marvelous Mrs. Maisel, especially since she had never seen it before. Before the tragedy, I was The-Marvelous-Mrs.-Maisel loyalist since its premiere in 2017. If you are unfamiliar with the series, it opens in 1958 and ends in the early 1960s and centers around Miriam “Midge” Maisel. Although her role that begins as a happily married woman with two children changes, chasing her stand-up comedy dreams and adhering to her affluent New York City lifestyle remain constant.
After the tragedy, I was reluctant to watch The Marvelous Mrs. Maisel because I felt it was something that aligned with a “happy-people’s” existence. Not only did we end up watching the episodes of the new third season that Christmas, but we watched the previous two seasons as well!
There are so many things in the show that resonate with me. For starters, a lot of the show is filmed in New York City’s Greenwich Village, a hotbed of stand-up comedy. “The epicenter of the city’s 1960s counterculture movement” is by far my favorite place in the world. Even now, whenever I go there, the young heartbeat I feel in the village lifts my old, worn-out spirits. To me, this is the epitome of America, for the most part, at its best. The village is more than a melting pot. It is a pot of gold, laden with people from all walks of life. The important thing is that the village really is a village because it encourages free expression. If you are bullied anywhere else in the world for any reason, the best therapy is to spend a little time here. Although you may appear outwardly very different from others around you, the sense of belonging is inherent; there tends to be a feeling of recognition in the air. In fact, the village is where I enrolled and participated in stand-up comedy workshops in the 1980s and experienced my own marvelous, albeit short-lived, show biz stint.
Anyway, watching The Marvelous Mrs. Maisel, f-bombs and all, saved our souls that fragile holiday season of 2020 and gave me faith knowing that although my laugh had lost a lot of its carefree boom, its flame had not faded.
So, this brings me to a very important date, February 18, 2022: season four of The Marvelous Mrs. Maisel. From the minute I heard about the new upcoming season, I was eager for its long-awaited arrival, like a kid getting his or her braces removed after walking around for two years with the metal invasion in their mouths.
At last! Friday night and I sat back, full throttle ahead, no one or nothing was going to vie for my time. My fellow blogger, Alec, would surely be pleased since quite ironically, he reminded me last week about the importance of fun.
As is, the new, season four, series rolls out two one-hour long episodes at a time. I planned to watch one hour of the show on Friday and the other hour on Saturday. Initially, I was timid to hit “play” because the minute I saw the old, familiar characters, my heart tumbled as I recalled the unbearable swords of circumstances that transpired in November 2019 and how the show helped me cope. Nonetheless, I hit the forward button, and one hour led to two. I was hooked from the beginning to the end of both episodes.
If you can get past the f-bombs and a few select scenes that some viewers may find inappropriate (nudity, profanity, alcohol, drugs and smoking, adult themes), the first two episodes are one big ode to the meaning of opposites. Free expression and individual voice versus repression and suppression. The importance of a financial framework versus the desire to pursue art as your true calling in life. And so many other things that call to mind the breadth of Greenwich Village, and its ability to tug hard at your heart strings and awaken your soul that was likely lost about the time your identity was wiped out when you understood and accepted the untruth behind the social conditioning of, “Big girls or big boys (especially) don’t cry.”
The first two episodes of season four of The Marvelous Mrs. Maisel touched upon nearly every tenet of existentialism and so much more. Miriam, the main character, is ballsy and brash and bold and is going to be heard, damn it, no matter what, and turn over convention. Subsequently, though, she’s not about to part with her hoity-toity upper west side New York City tastes either. All the while, she’s trying to rise up again from a rubble of failures and secure her share of the American Dream.
What’s happening in the show at its core, synonymous with the Greenwich Village vibe, is that so much that is not talked about and kept taboo unhinges and revolts. It can no longer shut up. It cannot be shutdown. It needs to be spoken, heard, not judged or erased.
It needs the human seal of “I see you” approval that we are all desperate for. My once alive son was a good example of wanting to be seen, heard, appreciated, in spite of how his differences made him feel separate from the rest of the world.
It’s as simple as that.
What fits in with this overall “fitting in” theme is a book that I’ve just finished reading Wintering, the power of rest and retreat in difficult times by Katherine May (2020).
The author writes about her mental breakdown at 17-years-old and, after the experience, she talked about it and talked and talked. She continues the story as she writes:
“I am aware that I fly in the face of polite convention in doing this. The times when we fall out of sync with everyday life remain taboo. We’re not raised to recognize wintering or to acknowledge its inevitability. Instead, we tend to see it as a humiliation, something that should be hidden from view lest we shock the world too greatly. We put on a brave public face and grieve privately; we pretend not to see other people’s pain. We treat each wintering as an embarrassing anomaly that should be hidden or ignored. This means we’ve made a secret of an entirely normal process and have thereby given those who endure a pariah status, forcing them to drop out of ordinary life in order to conceal their failure. Yet we do this at great cost. Wintering brings about some of the most profound and insightful moments of our human experience, and wisdom resides in those who have wintered.“
Okay, so what I’ve realized about myself now is that, as opposed to Miriam, I became a “good girl” and discarded the rebel status that I initially strived toward. This outcome, I found out 35 years later, can be a consequence of living a so-called sober, so-called adult life. It’s not a bad thing that I’m no longer the firecracker Miriam is and, quite simply, the fight in me now is, for the most part, exhausted.
But the thing about grief is that it has forced me to make a place for it. It is locked in me, next to my memories and my hopes and dreams. In the process, grief has peeled me to the core. So now I am left with my core and me. I don’t have the strength nor burning desire to be a rebel anymore, but my inner voice says that I don’t want to keep hiding anymore either. I’m done with listening to all the blood-hungry critics in the world that managed to seize my brain and ferment it. I keep hearing the song, “Kill the voices” on the radio.
My son had lost his ability to “kill” those voices that erased him. So he did it the best way he knew how, impulsively and brutally, leaving us spewed like squashed roaches in the aftermath.
All the more reason that I’m not keen on too many opinions and certainly those that come from pulpits, real and imagined. I’m not keen too much on my own opinions either, because I found out the hard way, how many times I am more wrong than right.
One thing that I am keen on is hearing Midge’s voice, f-bombs and all. At the end of the day, the story really is about an outspoken woman who knows her worth. And it is clear in the show that women have to work twice as hard to succeed. In turn, if others give her a chance to tell her truth, maybe it will spread beyond places like the village where she performs stand-up comedy. Maybe, too, we can all start learning the impossible art of listening for the sake of hearing, not changing, ignoring or stifling; for the sake of an “I see you” universal nod.
So, after watching the first two episodes of season four last Friday night, I laid down in my bed in a flood of tears that was as surprising as a drain that bursts in the bathroom in the middle of the night. I realized how Mrs. Maisel lends her voice to me right now, because I’ve fallen so far inside myself, I don’t know if I can muscle my way out unscathed. I don’t know if I have the courage. I don’t know if I can kill the voices, or if they have killed me, metaphorically instead.
In the interim, I am trudging through this week, waiting for Friday to hear the voices and the antics that not only give me comic relief and, if I am lucky, grief relief, but also a channel where I imagine I am in my twenties again. It was during a time when I orchestrated my world so easily in a leopard top and black rimmed glasses, my voice booming into the microphone loud and clear, laughter rolling through like a seamless tide rolling in to cleanse the sediment on the crusty shoreline.