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The First Book Ever Written About The Alexander Technique

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Ironically the first and best book on Alexander’s work may have been written 2400 years before Alexander was born, and may still be the best guide for pointing us in the “right direction.”  

I’ve spent the last eight years writing my own interpretation of Lao Tzu’s, Tao Te Ching because my experience tells me this text is the predecessor to Alexander’s work.

Aldous Huxley agreed. He called Alexander the first Western Taoist. Like Lao Tzu, Alexander’s work is about “the way” rather than “the form.” It’s about how we get to where we are going. Lao Tzu’s trust in “wu-wei”, that is, in non-doing, in effortless effort, in harmonious activity, his faith in softness over hardness, his devotion to the feminine, his reverence for water, his love of the valley more than the mountain, of space over substance, his desire for less rather than for more, resonate with what Alexander discerned about human nature.

Good books abound about the Alexander Technique. My desire was to return to the source out of which Alexander’s work originated. My desire was to contemplate Alexander’s work in relation to the task, and to the art of living a life.

Forty-five years ago Lao Tzu  led me to F.M. Alexander and now, after a lifetime of study, Alexander’s work has led me, full circle, back to Lao Tzu and the Tao Te Ching.

May Where This Path Begins – Renderings of the Tao Te Ching be of help to present and future Alexander students and teachers. May it help us take Alexander’s insights to heart, into our hearts, so that we might all live wiser, freer and kinder lives.

Here are several links from where to buy/download the book.

from amazon.com
If you don’t have a Kindle, you can download a free Kindle reading app from amazon.com, so you can read the book on your PC. Mac owners can download the app here.

Apple iBookstore
You’ll need iTunes for a Mac or PC (download link provided), or you can read it with your iPhone, iPad, or iPod touch.

Diesel e-books

Kobo-eBooks

Sony ReaderStore

Barnes and Noble

Smashwords



Putting Your Foot In Your Mouth

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55 baby photo

Passage 55 from Where This Path Begins…

Babies don’t interfere with themselves.
Babies don’t judge, correct, or evaluate themselves.
They can’t make a mistake,
Because they don’t know what it means to make a mistake.
Babies can’t fail because they don’t know what it means to fail.
Babies are moved to move. They don’t know why.
What does why mean to them?

Babies want what they want. They are happy when they get it.
What they don’t want, they don’t accept. They’re honest.
Babies are unselfconscious, unabashed, and unpretentious.
We love them because we want to be like them.

Babies sit on the floor, effortlessly upright,
Delighted to see the world from a new perspective.
Babies stop eating when they are no longer hungry.
They immediately throw up anything they don’t like.

A baby can scream for hours without straining their voice.
Babies express strong emotions,
And when the reason for doing so is gone,
They stop, and forget about the whole thing.
Babies cannot hold grudges.
They don’t know what it means to hold a grudge.

Babies can spread out all their toes, even the little ones.
Babies can put their feet in their mouth,
And they don’t care what anyone thinks about it.

Babies fall over and over again, don’t care, don’t get hurt,
And don’t take it personally.
They just get up.
We love them because we want to be like them.

As babies,
We did not identify ourselves as male or female, or even as human.
We had no identity.
We were uncoordinated, inarticulate, illiterate,
Uneducated, unskilled, and unsocial.
Appearing completely selfish, we had no self.

As we ceased being babies, gradually, we became more self-conscious.
Coordinated, articulate, literate, learned,
Socialized and civilized.  We gained impressive skills.
We assumed an identity, a false identity.
We lost, to a great degree, the inherent qualities we had as babies.

We yearn to become unself-conscious, unambiguous, uncomplicated.
We long to unlearn, not to know, to surrender control.
We no longer want to equate self worth with skill and accomplishments.
We don’t want to be dictated by what others think of us.
We want to be ourselves, without apology.

We want to experience our innocence, through our maturity,
To come around, full circle. We want to be able to play again.

We want to see the world, one more time,
Through the glistening eyes of an infant.

Where This Path Begins by Bruce Fertman


Only Two Kinds Of People

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Photo: B. Fertman

Photo: B. Fertman

Passage Fifty-Three

From Where This Path Begins

There are two kinds of people.
Foxes and Hedgehogs.

Foxes dig lots of shallow holes, spreading out all over the place.
Their coats are silky, shiny, and colorful. They’re debonair.
They’re sly. They’re quick. They’re here, there, and everywhere.

Hedgehogs are a bit pudgy.
They’re not real handsome or pretty. They’re drab.
They’re either still, like a rock, or busy digging away, usually the latter.
They start digging one hole,
And once they start you can’t get them sidetracked.

They just keep digging one big hole.
The hole gets wider and deeper. And deeper. And deeper.
It seems like they’re working their way down to the center of the earth.
It’s safe in that deep hole.

Some uninvited guests enter and start poking around.
The further in they go, the quieter it gets.
Unnerved, they turnaround and leave.

The hedgehogs keep digging.
Other creatures talk down about them,
Saying how they are just running away from the world.

Very few creatures understand hedgehogs.
They’re not digging away from anything.
They’re digging toward something.
The closer they get, the better they feel.

They never reach the end, which they find mysterious.
One day they wake up and understand the truth.
There is no end. There is only the way.
That’s fine with them.

There are a few foxes, usually older foxes, who realize
They’ve been running around getting nowhere.
Just how some foxes turn into hedgehogs; no one knows.
Legends abound.
It hurts. It’s harrowing. It’s humbling.

It is however, widely known, that the few foxes
Who do turn into hedgehogs, become some of the finest hedgehogs
Hedgehogs have ever had the privilege to meet.

Where This Path Begins by Bruce Fertman


Elisabeth Walker

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with love from the Fertman Family and from The Alexander Alliance

Video


The World In A Dewdrop

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Photo: B. Fertman

Photo: B. Fertman

It’s uncanny. You start working with a person doing some simple activity, like eating an apple. You slow it all down. You give someone a chance to sense how they’re doing what they’re doing as they’re doing it. “Well, what do you notice,” you ask. They say, “I’m biting off more than I can chew.” The bell goes off. There’s nothing you have to say. There it is, his whole life in one action. He gets it.

A person walks to the door, opens it, and leaves the room. Simple enough. I invite her to return. “Well, what did you notice,” I say. She says, I don’t know. I saw the door handle, felt the door open, felt myself leaving. My eyes were cast down. Something sad about the whole thing.”

“Very good”, I say. “You’re waking up.” This time see the whole room you’re in before you leave, and everything and everyone in it. Say to yourself, thank you and mean it. Walk to the door, open it, and as you are crossing the threshold, linger there between two worlds. Sense how leaving is entering. Let your eyes take in the space you’re about to enter. Just this time, don’t look down and see what happens.”

As I make this suggestion to my student, the bell goes off, for me. Yes, every lesson is for me. Every life is my life. Everyone in everyone. The whole world in every dewdrop.

Sometimes movement is just movement, and sometimes movement is metaphor. Sometimes movement means something, something important. Something about our lives and how we live them.

This passage from Where This Path Begins is one example of how I have attempted to convey Lao Tzu’s insights through the workings of the body. The goal? Always, always to get to the heart, to the heart of the matter.

Twenty-Four

You’re Too Much

Arms are limbs for your hands.
Arms fold and unfold.  They raise and lower.
They don’t like to be stiffened or over-straightened.
If something is beyond your reach, get closer, or do without it.
Why strain?

Clutching, grabbing, gripping, grasping.
Why hold on to things so tightly?

Legs are limbs for your feet.
Over-stride and your heels will strike against the ground.
Your back will tire. Your feet will ache.
Why get ahead of yourself?

Puff up your chest, and your lower back will tighten.
Your shoulder blades will narrow.
Your nose will stick up in the air.
Look down on others, and they will not look up to you.

Talk too much and you will lose your voice.
Why over explain?

Too much is too much.

Where This Path Begins by Bruce Fertman


Don’t Believe A Word I Say

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Photo: B. Fertman

Photo: B. Fertman

Three

Where Do They All Come From

Arrogance leads to loneliness.

Greediness to loss.

Give to others and you will not be poor.

Serve the people who serve you.

Work under those who work under you.

Allay your own fears, and those around you will become less afraid.

Open your own heart, and people’s hearts will open.

Do this, and people will have what they need.

You will have what you need.

There will be nothing left to do.

Alexander Commentary…

One of the principles underlying this passage is that changing ourselves is often the best way to change others. Alexander’s work also embraces this principle. Practicing Alexander’s work means attending to ourselves, doing our own inner work. What’s wonderful about the Alexander Technique is that we are given a way to do this physically. Our bodies become capable of alerting us, just before we are about to run into trouble.

For example, “Arrogance leads to loneliness.” Arrogance is not only an attitude; it’s a physical state of being. Arrogance expresses itself physically. The expression of arrogance can be overt or covert, but in either case it can be felt, discerned. When our kinesthetic sense becomes keen enough, we may notice that we are pushing our necks back and over straightening them, (stiff-necked). We may notice that we are pushing our chest up, and that we’re locking our knees, (and every knee shall bend.) A warning. Beware. Be aware. If we heed that warning, if we truly want what’s best for ourselves and for others, if we’re willing to let our ego give way to what is good in us, if we remember that we are not after being right, or being better than others, but in being at peace, then we can un-grip this arrogant stance, we can let it fall from us, and with it will fall the arrogance as well, and perhaps the loneliness too.  The energy exerted to maintain arrogance, which is considerable, returns to us, to be used in a better way.

John Dewey, one of America’s finest philosophers of education, and a long term student of Alexander’s wrote about how the work enabled him to know when he was engaged in sophistry and when he was being a lover of the truth, literally, a “philo-soph-er.” After years of studying the work he could feel, somatically, through his kinesthetic sense, when he was being a sophist, and he knew he was not after winning the debate, but that he was after discovering the truth, and he didn’t care who discovered it. So in these situations he was able to make the shift back to whom he was when he was at his best.

But as my teacher, Marj Bartow often said, “Don’t believe a word I say.” Lao Tzu’s philosophy is not about believing anything. It’s about carrying out life experiments. Find out for yourself if what he says is true.


Most Inner Of Rooms

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Photo: B. Fertman

Photo: B. Fertman

Daitoku-ji Revisited

Twenty-five years ago I first entered the gates of Daitoku-ji, one of the most beautiful Zen Temple in Japan, known for its rock gardens.

Today I returned, and found myself no less in love with them. They have not changed, but I have, and so they have.

1988

Ryugintei and Isshishan are Zen Rock Gardens within the monastery walls.  Shoko-ken is a small teahouse I found when I was roaming around within a bamboo forest on a snowy night, completely lost.

 Ryugintei

Leaving this world.

Gazing down from high above.

Seeing far below.

Small islands.

White waves.

No details.

Only large patterns,

Orderly in their randomness,

Unknowable in their logic.

Isshishan

Tall rocks,

Jutting through gravity.

Once I loved them.

Now they seems too ambitious,

Working so hard.

Shoko-Ken

Moonlight falls.

Snow settles slowly upon the thatched roof.

Steam rises from an old, black pot.

The smell of thick green tea.

Two tatami mats.

Most inner of rooms,

Where you and I can meet,

Who knows for how long?

Thank God I lost my way,

I never would have found you.


Remembering What I Frequently Forget

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bruce's hand

From a new student at the Alexander Alliance Germany upon finishing her first Retreat…When I read letters like this I suddenly remember what I frequently forget. I remember why I first began studying, why I first began teaching.  I remember that I have a job in this world, no matter how modest a job, something given to me, of value, to be given to others.

(Replies below, in italics, are mine.)

It has been a very intense week for me and I am very, very grateful for everything I experienced.

I now understand what you mean by “voice work”.   I had a more technical understanding of voice work, resulting from my singing lessons. Somehow it clicked in when you were talking about it in another context, as you speak of  ”hand work”.

Yes, I mean it in the most basic way. Humans seem particular inside of the animal kingdom in four ways – our uprightness, our brains, our  extremely articulate and versatile hands, and our extremely articulate and versatile voices. It turns out that Alexander Technique is about what is distinctly human. Humans use their voices primarily to communicate, and that means in social situations. So working with the voice is my way of entering into how we function socially. Social situations, relationships or the lack of them, are when we most often disturb ourselves, get ourselves off balance. So learning how to deeply dwell within ourselves as we interact and empathize with others, for me, is a big part of our work. 

I’ve joined a workgroup which meets regularly on Mondays to practice and discuss everything we have learned in the school. That’s great and I enjoyed this first meeting very much.

I am so glad and moved that you guys do this. What a great bunch of students at the Alexander Alliance.

I have started observing myself and other people. Concerning myself, I now realize how much additional work I do in every day things like brushing my teeth, kitchen work, using the telephone and much more. I didn’t realize this ever before. It’s, on the one hand, surprising to realize what I have been doing for years to my body, and on the other hand, good to know that I can change it now.

This is perfect. It’s exactly what is supposed to happen. Suddenly you begin to notice all the little movement and actions that make up everyday life. You wonder why you never really noticed these things before. You start to sense them, become curious about them. This is what I mean by the Sensory World. You are not just going through the motions of life unconsciously, you are now consciously sensing your life, the little things, which collectively make up the majority of your time on earth. What could be more important? Felt existence. Experienced existence. Lived life. Letting it all in. 

Concerning others, I am seeing them with different eyes. For the moment I often observe how they walk, stand, and move. That’s so interesting. I could spend hours just on this…

For me seeing is one of the great pleasures of the work. That’s why I studied Figure Drawing for some years. I just wanted to be able to look at someone for three hours until I began to see them, really see them. I would come home from those classes, after such a long day, full of energy, so exhilarated because my eyes were opening. My eyes were beginning to touch what they were seeing. Marj Barstow and Erika Whittaker both felt that watching people, not critically, not judgmentally, but just beholding them was an important practice for an Alexander teacher. When I sit in a train station, or at an airport and do this I begin to love everyone I see. I don’t know why. It just happens. You begin to see the precise relationships between a person’s emotional being and their physical expression. You begin to really see what they are doing physically – how they are holding themselves, how they move, where they hurt, how they gesture. It’s like you are beginning to study homosapiens. Oh, this is what we humans do! 

I am also thinking about the question ‘What would the body be without the word body?”  That reminds me of a book I read about Constructivism during my linguistic studies at university. I’ll let you know when I have come to a conclusion.

I don’t often come to conclusions! My life seems perpetually unfinished, in process, sometimes in limbo. So any conclusions would be most welcomed. Yes, I think language is very powerful for humans. We construct whole worlds out of words. Sometimes these words help us to better see the real world, but so often they can prevent us from seeing the world as it is. I look forward to learning more from you about language, and I hope you will share your insights with all of us at the school.

I hope you are having a good time in Japan.

I am. Thanks. And thanks for your good letter. Stay in touch. I love hearing from my students.

Yours,

Bruce



A Definition Of The Alexander Technique For Emerging Alexander Teachers

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fma_1894

Our Essential Task

(From a graduation speech given to the Alexander Alliance graduating class of 1991, written in the long, infamous style of F. Matthias Alexander. Revealing footnotes included.)

Our essential task as teachers and students of Alexander’s work is to bring about a conducive atmosphere for learning and unlearning,*1 thus increasing the opportunities for sensory discernment*2 wherein our habitual patterns of being and doing can become conscious, known, accepted, and experienced as abundant energy,*3 allowed to disintegrate positively,*4 simultaneously re-integrating in such a way*5 that energizes the true and primary movement in each and every activity,*6 thus bringing about a surprising change in proprioception*7 as we proceed to function, to act, to live, now,*8, risking feeling wrong,*9 interacting with deeper contact, responding with greater freedom*10 than we ever imagined possible.

Foot Notes

*1. Compassionate attitudes that allow people to learn and unlearn. They are…

Non-diminishment: It helps no one to diminish either yourself or your students.  “Moses laying his hands on Joshua may be compared to one candle lighting another, no light is lost to the former.” -Rabbinic Midrash on Numbers 27:18.

Non-objectification:  I refuse to work “on the body.”  I choose to work with people, with this particular person, and that particular person. I never touch a person’s body. I only touch a person.

Non-forcing:  I refuse to use force to bring about grace.  I choose to bring kindness, intelligence, and skill to the situation at hand.  “Fluid as melting ice. Do you have the patience to wait till your mud settles and the water is clear?  Can you remain unmoving until the right action arises by itself?  If you realize that all things change there is nothing you will try to hold onto.  Less and less will you need to force things.” -Lao Tzu/Stephen Mitchell

Non-isolation: I choose to observe and accept the truth: that we live in relation. My wish is to be simultaneously aware of myself in relation to my environment. My wish is to exist within a unified field of attention, a field that includes me without orienting around me. “Within, but not enclosed, Without, but not excluded.”  Abbess Hildegard von Bingen.  “Existence Is Co-existence.” -Rabbi Abraham Joshua Heschel

Non-endgaining: How we are doing what we are doing as we are doing it is more important than just getting it done.

Non-correction: Correction is usually too quick, and often founded upon a lot of judgment and too little information. I choose to become curious, ask questions, conduct experiments, and let my students arrive at their own conclusions.

Non-concentration: Rarely is it desirable to give more than 25% of your attention on the figure of an action or event.  Background is beautiful, orienting, restful, meaningful.   Think about the distribution of attention of a driver behind the wheel for the very first time, and that same driver having driven for years, listening to Bach, sensing the road under her hands, enjoying the landscape all around her, while listening to her friend.

Imperfection:  I choose to look for the way, rather than the form, the end, or the ideal. I care not about what a person looks like. I hold no graven images before me. I care less about the acquisition of knowledge and more about the eradication of blocks. I care less about learning and more about nurturance, maturity and growth.  My wish is to deepen the quality of experience, responsiveness, and attention for my students and, of course, for myself.

Unhurried: As Alexander teachers , we give people our time,.  We give time. You can’t change a habit if you are in a hurry.” – Marjorie Barstow.

*2. Sensory discernment – sensory perception, void of judgment, founded upon a wish for understanding and direction.

Sentience – The immediate, accurate, and inclusive perception of reality, received through a harmonious use of the senses, free from the intervention of language, thought, or analysis. Bruce Fertman

*3. “Energy is eternal delight. William Blake

*4.  Alexander’s “inhibition and direction”, Barstow’s “a redirecting of energy,” all expressions implying that the energy of the old and the new are one and the same, and that this energy must relinquish expressing itself one way, before it can do so another way. “Our habitual holding pattern is our true and primary pattern, incognito.” Bruce Fertman

*5. …in such a way, implying that the change to which Alexander Teachers refer is tremendously subtle and delicate, a blending of sensitivity, keenness, kindness, knowledge, wonder – too difficult, or perhaps too simple, to describe.

*6. That energizes the primary control, the head/neck/back pattern, the primary pattern, deep structural integration, the pattern which connects everything to everything, the pattern of reciprocal interactions, of interdependent co-arisings, the life-force within us, our vitality.

*7. Read Oliver Sacks, The Man Who Mistook His Wife for a Hat and Other Clinical Tales, chapter three, “The Disembodied Lady,”  for a truly moving account of proprioception.

*8.  “Structure is the record of past function.  Function is the source of future structures.”  -Ludwig von Bertalanffy.

*9.  F.M. would sometimes begin a lesson proclaiming to his student, “Let’s hope something goes wrong!”

*10.  From reactivity to responsiveness, from impulsivity to spontaneity. From repression to deliberation. How we respond to the myriad, constantly changing stimuli from within and without.



The Theology Of Touch

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Photo: B. Fertman

Photo: B. Fertman

Going Blind

Only the blind can see.
Only the deaf can hear.
Only the hungry are fed.
 
Touch this world.
Only the blind can see.
 
Listen to yourself not thinking.
Only the deaf can hear.
 
Empty yourself of yourself.
Only the hungry are fed.

Commentary: Touch This World

Not being a scholar, I don’t know the story behind Michelangelo’s choice. Maybe no one does. What I do know is that in the Torah the story goes that God blew the breath of life into Adam through his nostrils. It was breath that was the vital force.

When painting the Sistine Chapel, Michelangelo chose not to depict the creation of Adam through breath. He threw the metaphor out.  He chose touch. God touched Adam, and Adam came to life. Michelangelo was a sculptor who, through touch, brought the lifeless to life. He retold the story of Genesis in his own image.

Theology, to me, is not spiritual; it’s tangible. It’s earthy. It’s physical.

Maimonides, a 12th century Rabbinic scholar from Spain, said God was Reality. For me, reality feels pretty physical. You know, getting up, bathing, grooming, eating, and going to work, or going to look for work. Or on other days, cleaning your house, going shopping for food, stopping at a couple other stores for this or that. Taking your car, if you have one, into the shop for an oil and filter change.

And then, on occasion, there’s a free day. You’re out in the country. A cool breeze brushes against your face. The warmth of the sun sits on your shoulders. You hear the sound of a stream nearby, smell a slight sent of cedar in the air.

Sounds physical to me.

Other people feel God is Love. Kindness is one way we express our love.  Kindness is love in action. Acts of kindness seem physical to me. Doing little things for people. Helping out.

It makes sense to think about a theology of touch. Think about giving a baby a bath, or sweeping the snow off the front steps for your grandfather who’s coming over for dinner, or feeding a stray cat. I can’t see accomplishing any of those acts of kindness without touch or without being touched.  There’s got to be a relationship between theology and touch.

When my wife and I adopted, Noah, our second baby from Korea, Noah was gaunt and withdrawn. His digestion was not good. He didn’t eat much. He rarely smiled. It didn’t matter. We loved him infinitely anyway.

Our babies arrived on Korean time, so when we were ready to go to sleep they were just waking up for the day. Being the light sleeper in the house, I was the one who stayed up at night with the babies. One night while feeding Noah from a bottle, I noticed that his shoulder blades were acutely drawn together and tightly pulled up toward the back of his head, almost always a sign of fear or anxiety. In Noah it felt like fear.

After feeding Noah I’d sit down on the floor, lean back against the wall with my knees up, and place Noah’s little body facing mine, his back comfortably lying against my thighs. I became the perfect reclining chair.  I’d reach around to his back, placing each of my hands on a tiny shoulder blade. I just relaxed and rested my hands, rested my entire body, and dropped into a deep calmness within myself. I imagined my hands, and with them Noah’s shoulder blades sliding down away from the back of his head and around toward the sides of his little ribs.

A week went by and it seemed there was no way Noah was going to let those shoulder blades go.  But he was my son and I was not about to give up. One night, all at once, like a little avalanche, Noah’s shoulder blades completely released and spread wide apart. A big smile spread across his whole face. He threw his head back and let out a huge laugh. The next morning he had a big appetite, his digestion returned to normal, he had about twice the energy and began to gain weight.

God in the palms of your hands. The theology of touch. Touching this world.

Where This Path Begins by Bruce Fertman


Death And The Alexander Technique

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14 pine bark copy 3

Death Warmed Over

When we’re born, we’re soft and supple.
In youth, we’re firm and strong.
We age.
We lose some flexibility. We lose some strength.
When we’re very old, we get creaky and stiff.

The moment before we die,
We become, again, profoundly soft and supple.
No more holding on. No more pain.

Soon after, our body becomes rigid and dry.
Immediately it starts to decompose.
Still moving.

Life is movement and death is movement.

A tree dies.
It remains standing for a long time.
Branches break. Roots wither.
Its core begins to rot.
The trees becoming softer, weaker, more space than substance.
Woodpeckers arrive, find insects to eat, make shelter in its empty trunk,
Where they raise their hatchlings.

Death supports Life.
Life is soft and death is soft.

Commentary:

…No more holding on.

Living Until You Die

I didn’t know her. One of my students, Saundra, asked me if I would work with her friend who was dying and without thinking I said, Sure, sure I’ll work with her.

Driving over to her house, to Sharon’s house, that familiar feeling descended upon me, enveloping me like some thick fog in the night, this feeling of being lost, of wondering what I was going to do when I met Sharon, of not knowing how I could possibly help her.

It took Sharon a long time to get to the front door. She managed a small, heartfelt smile, and invited me in. There was a massage table set up in the living room. Sharon said that Saundra thought I might need it. How about we get started I said. Just take off your shoes and lie down on the table, on your back. This too took a long time. I watched. Sharon was 40 but she moved as if she were 90. Why was no one with her? Why was she alone?

I helped Sharon to sit on the table, then cradled her in my arms, lowering her gently down into a semi-supine position. I pulled up a dining room chair and placed it at one end of the table, by her head. I sat down. Sharon, I’m just going to sit here for a while and be with you, and look at you. Is that okay? She nodded.

As if I were standing on top of a mesa gazing down at a vast landscape, my eyes began surveying her thin, scared body. I wasn’t looking for anything. I was just looking. Nothing was presenting itself. A wave of self doubt washed over me, and then all at once, as though my eyes had grown accustomed to the dark, I could see. I could see her.

Her right hand, almost in a fist, her wrist curled inward. Her left arm pulled against her side. Shoulder blades drawn up toward her head, head pressed down into her neck, chest caved in, pelvis tucked under, like a dog with its tail between its legs. Thighs tight, and pressed together. Brow knitted, eyes pressed shut, jaw clenched.

What was that pattern? Then it hit me. Sharon was bracing for impact, as if she was about to be in a head on collision.

Okay Sharon, I’m seeing you. Tell me, what do you want? I want to die she says. I’m trying to die.

No one had ever said that to me. Silence. Okay I said. I can see how you are holding on, how you are bracing. Maybe you want to die, and your body doesn’t. Maybe your body’s scared of dying.

That’s it, Sharon says. Can you help me, Sharon asks? I can teach you how to let go of your body. That’s good for people when they are alive, and you are still alive. It might help you live until you die. Okay, she says.

Something tells me to begin with the large flexor muscles in Sharon’s body, her quadriceps and her biceps. With the lightest touch a lot of tension immediately falls away. Her pelvis releases. Her right fist un-clutches. Her lungs fill with air. You okay Sharon? Sharon nods and I notice that her knitted brow has begun to relax.

Her feet. Her right foot is sickled inward, much the way her right hand was. I return to my chair and look again. Her body is rising and falling. She’s moving. I place my hands around her head. Sharon, imagine your head is a large ostrich egg and my hands a nest. Immediately, I sense her neck muscles let go. I see her foot un-sickle, her arms relax away from her sides. Her chest is no longer caved in, but filled out and moving. Her jaw has unclenched and her lips are now ever so slightly parted, like a baby.

I spend the next half hour finding soothing images Sharon can connect with that help her to let go whenever her body begins to tighten up on her…the scapulae as rafts gently drifting apart on the surface of a quiet lake, the sun setting between her eyes, the body as nothing but empty sky.

It’s time to go. Sharon gives me a hug by the door. Her body feels soft, unafraid. We say our goodbyes.

Five days later Sharon died.

…Death Supports Life.

A Crash Course In Love

Why was it good that my dad died when, and how, he did?

Given his dismal prognosis, it very likely spared my father from a final year of prolonged misery.

It gave Eva the chance to hold her grandfather’s right hand, and Noah his left hand, his wedding ring still there as always, the ring my Dad had bequeathed to Noah. It gave Rob, the brother I always wanted, the chance to hold my father’s feet, keeping them warm. It gave Norma time to moisten his lips, Martha and I time to cradle our father’s head and to feel, under our hands, his faintly beating heart. We held him in this way, continually, for two hours before he died.

The weaker my father became, the stronger we became. The less my father ate, the more we were fed. The more he withdrew, the closer we became.

Clearly, death supports life.

It may have looked to others that I was caring for my father, but actually, he was caring for me. My father parented me until the last moment of his life. He was teaching me, and I was learning. In three weeks, he taught me more about selflessness and gratitude than I had learned in my entire life. I studied with him morning till night – a crash course in love. The more I gave myself over to my father, and to his needs, the more my needs were met. Silently, without asking, my children began supporting me as I supported my father.

As my father’s heart weakened, mine grew stronger. When my father’s eyes closed, mine opened. They opened to the world as it is, to just as it is.

 

Where This Path Begins by Bruce Fertman


For The Love Of Peace

The Letter

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Yuki’s a quiet, young woman. She’s larger than most Japanese women, but manages to move through the world unseen. Her eyes look almost hot, as if they’re burning inside. Sitting there in class, without notice, her eyes will suddenly fill with tears, which she then holds back. I can’t be sure, but it looks like it hurts in there.

Yuki asks if she can read a letter, a letter from her sister. Of course, I say.  I’m wondering why, and as if she can hear my question she tells me. My sister is in a hospital. She’s mentally unbalanced. She writes me letters that are very disturbing. They scare me. When I read them I can’t move. I can hardly breathe.

It looks like you like your sister very much. I do, Yuki says. And I feel terrible because I don’t know how to help her.

Let’s read your sister’s letter. I’d like you to read it out loud if that is okay with you. She nods. I want you to read a few sentences to us, and then read them again to yourself. And just continue like that for a while. Yuki begins.

I don’t understand Japanese. I have no idea what Yuki is reading. My translator has stopped translating. I look around. Everyone is riveted. I don’t need to know what is being read. In fact, it’s better that I don’t. I’m just watching my person. I’m with Yuki. That’s my job.

Yuki looks like she’s just been punched in the stomach. The hand that’s holding the letter is trembling. Her voice sounds strange, guttural, sounds that don’t sound Japanese. When Yuki reads to herself, nothing changes. It’s just as painful. She can hardly move, hardly breathe.

All the while I’ve been sitting next to Yuki, beside her and slightly behind her, in her blind spot. That’s where I often am when I work with my students, beside them and behind them. I can almost appear and disappear at will.

Reappearing, I place my hand on top of  Yuki’s hand, the hand holding the letter, and softly guide her hand down so that it and the letter can rest in her lap. Yuki, I see just what you are doing. This won’t be difficult. I’d like to use my hands to help you if that’s okay. She nods.

Over the next five minutes I help Yuki to effortlessly uncoil. Little by little, from the bottom up, I get Yuki’s back resting against the back of her chair. I help her legs to un-brace. Her stomach relaxes. Her chest begins to fill out. She’s breathing fully and peacefully. Her head floats back on top of her spine, by itself.

Yuki, the chair is giving you its support and protection. It wants you to rest. I see the last remnant of tension leave Yuki’s face.

I put my hand under Yuki’s hand, and gently raise her hand, and with it the letter. Yuki, be here with the ground and read. Yuki’s voice is soft and clear. When she stops and reads to herself, she’s calm, calmer than I’ve ever seen her.

How are you doing Yuki-san?  I’m with my sister. But I am over here and she is over there. We’re touching, we’re overlapping, but I am here and she is over there. I can’t help her if I go over there. I can only help her from here where I am.

There’s nothing to say. I look into those eyes, no longer red and burning, but warm, soft, and loving.


Fluid Life

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Photo: B. Fertman

Photo: B. Fertman

Twenty-One

Drenched To The Bone

Sponge-like.
The more it receives,
The softer and larger it becomes.
 

Soaking, Seeping, Saturating.
Permeable. Permeating.
Gray, Dark, Dim.
Vital.
Shapeless, Formless.
All-Pervading.
 

How do we know this?
We don’t know how we know this.
We just do.

 

Commentary

Lao Tzu seems at once philosopher, pragmatist, mystic, naturalist, political advisor, coach, and the grandfather we always wanted.

Here, within this passage, speaks Lao Tzu, the mystic. He wants to give us a glimpse into the primordial, into the formless, fertile, cosmic culture out of which all life grows and thrives.

This passage may strike some as obscure, but for me it is accurate and real. When teaching well, this is what I touch. My hands contact a person, but then without my exactly knowing how, my hands drop in and there’s something dark, dim, and vital, something fluid, something moving, something without form or structure. My hands are touching and responding to the stuff of life, to life itself, fluid life.

When my hands sink, drop, fall, melt into this fluid medium, instantly my student and I feel it. It is as if before, without knowing it, we were only half alive, and then suddenly, as if someone flicked on a switch, we are wide-awake.

As an educator, I do my best to demystify the work we do. I like to speak simply and practically. I avoid jargon and intellectualism. I ask questions, tell stories, evoke images. But some things remain a mystery to me, and there is nothing to be done about it.

During a workshop, an occupational therapist asked me what I thought about when I touched someone. I didn’t know what to say. I wanted to give an honest answer. Did I think? What was I doing? Finally, I said to her. I don’t have a thought in my head. Not thinking is profoundly restful for me, a quiet joy. I’m just water touching water.

During an Alexander Event at our school, Elisabeth Walker was napping after a good morning of teaching. I gently knocked on the door to wake her up for some tea before her afternoon class. She looked tired. “Elisabeth, can I get you a cup of tea?” “No Bruce, I don’t need a cup of tea. I need a student.”

When Elisabeth taught, she touched the stuff of life. She rarely used the term primary control, or primary movement. Sometimes I used the term primary pattern. Elisabeth liked that but once she said to me, Bruce, all we’re really touching is vitality.

That’s why it’s such a blessing to be an Alexander teacher. We get to hold the waters of life in the palms of our hands.

Where This Path Begins by Bruce Fertman


Bummed Out

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Photo: B. Fertman

Photo: B. Fertman

Holidays do not always bring joy and good cheer.

Visiting relatives we can’t relate to, whose values conflict with ours. Not having relatives to visit. Missing people who were once in our lives, parents or grandparents, former spouses, kids who have grown up and moved on.

Some of us are single. We are bombarded with commercials, with images of happy families, people who are married, people with children, people living in big, beautiful homes.

Holidays can be overwhelming, unnerving. Unresolved conflicts emerge, old wounds resurface, arguments ensure. Pressures mount around money and gift buying. People running around. Lots of drinking. Accidents happen, and not just to other people.

Some of us face the new year full of hope, others of us, with dread.

Who hasn’t, at one time or another, felt lonely and depressed, deserted and desolate during the holidays?

Like all of us, Lao Tzu’s been there too. He doesn’t try to hide it from us. He wants us to know that he knows how hard it can get, how painful it can become. He’s telling us that even saints and sages suffer. He’s telling us that these feelings of isolation that beset us are part of the human drama, not indications that we’re broken.

Without a broken heart, how could anyone be whole?

Twenty

Bummed Out

Accepted or Rejected.
Included or Excluded.
Sanctioned or Censored.

Which is a compliment, which an insult?
Ultimately, does it really matter?

Don’t be afraid of what people think of you.
How do you think about yourself?
That’s what counts!

I know what I say is true,
Still, sometimes, I feel utterly alone.

I watch and listen to people around me.
They are together – eating, talking, laughing,
Enjoying one another, as if life were one big party.

I don’t feel like eating. I don’t talk. I don’t smile.
I’m exhausted. I can hardly move.
I’m downhearted and depressed.
I have a house but no home.
I am a homeless person.

People around me go about living their lives.
I feel like I have no life.
I’m just an old man sitting and writing in the dark.

What’s wrong with me?
Why am I so confused, so flooded in doubt?

Everyone seems full of purpose. They are clear.
They know what they have to do, and they do it.

I drift aimlessly, blown this way and that, like a cloud.
I possess no solidity, no stability, no security.

Yes, it is true. I am a stubborn man.
Reclusive. Unreachable.

Nothing but the Tao sustains me.
From Her alone I receive sustenance.

I am like a baby peacefully sucking at his mother’s breast.

Where This Path Begins by Bruce Fertman

Commentary

For whoever decided to leave this passage in the Tao Te Ching, I am grateful, just as I am grateful to whoever decided to leave Ecclesiastes in the Torah.  When we mystify, mythologize, and deify our leaders, we belittle ourselves.

Near the end of his life, Carl Jung strongly identified with this exact passage in the Tao Te Ching. He writes:

“I am astonished, disappointed, pleased with myself.  I am distressed, depressed, rapturous.  I am all these things at once, and cannot add up the sum.  I am incapable of determining ultimate worth or worthlessness; I have no judgment about myself and my life.  There is nothing I am quite sure about…

When Lao-tzu says: ‘All are clear, I alone am clouded,’ he expresses how I now feel.  Yet there is so much that fills me: plants, animals, clouds, day and night, essences of people.  The more uncertain I have grown about myself, the more there has grown up in me a feeling of kinship with all things.  In fact it seems to me as if that alienation which so long separated me from the world has become transferred into my own inner world, and has revealed to me an unexpected unfamiliarity with myself.”

Carl Jung



Visceral Love

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Photo: B. Fertman

Photo: B. Fertman

Gravity. George Clooney was still Up In The Air, but this time he was way, way up in the air, and dressed in a space costume. Saundra Bullock was good, for sure. But it doesn’t matter at all because this film is not about any particular person. This film is not even about special effects. The film wasn’t about any thing, except one thing, one big thing.

For over an hour we vicariously experience what it feels like without the benefits of gravity. It’s not fun, not fun at all. It isn’t until Saundra Bullock, and all of us, reenter the earth’s gravitational pull, which we do not do, fully, until the moment Saundra Bullock drags herself onto the beach. Only then, do we understand what this film is about.

It’s not about the concept of gravity. It’s about the visceral experience of gravity, it’s about deep love, visceral love, the way a breath feels when you’ve been under the water way too long and your lungs are burning, really burning and you’re thinking that this time you may not make it, you see the light shining through the surface high above you, no you are not going to make it…And then you do.

That kind of love.

The film ends. I’m sitting, really sitting, in a chair, that’s on a floor, that’s resting on huge beams that rest on massive walls that extend deep into the earth. I look around. Everyone is Japanese. Right, I’m in Japan. I walk out of the black theater, into a modern white shopping complex, through hordes of teenage kids, by blasting, clanging, ringing video game parlors, thinking, of course, Pachinko for children. But none of it makes any real impression. It’s all superfluous, because all I can feel is the ground under my feet, how solid it is, how it’s pushing itself up under me, how substantial I am, how much my entire body and being is drawn to the ground, magnetically attracted. Visceral love. I feel like a glass and someone above me has turned over a full pitcher of water and is pouring that water right through me. I feel wet. I feel like a waterfall. I am water falling. I’m a building being demolished, imploding in slow motion, caving in on itself, giving up, surrendering, finally coming down. It’s the avalanche. It’s the great avalanche for which we all long.

Through the endless white shopping mall into the night, down into the subway, into the train, up the steps, back out into the night, into the cold air, I can feel my body breathing like a bellows. I can feel the pressure of breathing, the work, the resistance, the effort the body makes to breathe. Love. Visceral love.

Almost home. The light turns red. I wait. One of those endlessly long red lights. I don’t care. I am in love, in love with gravity, in love with the air. My body is completely comfortable, profoundly comfortable. All is quiet within me. After the avalanche, an infinite silence, infinite space, infinite rest.


Masters of Gravity – Kan Sensei and Michael Sensei

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Rabbi Abraham Heschel said, “You cannot know one religion unless you know two.” I’d say the same when it comes to somatically-based practices as well. I forged a career as an Alexander Technique teacher, but I delved deeply into Tai Chi, Aikido, and Chanoyu. I became able to look at the Alexander Technique not only from the inside out, but from the outside in as well.

Two people I have learned a lot from were both trained in the Rolfing tradition. It so happens they also trained with me. But they went on to synthesize their knowledge in ways that have been illuminating and helpful to me, and to many others. I would like to introduce these two guys to you.

Kan-Sensei

Kan may be the only person in Japan who is a certified Rolfer, Alexander Technique teacher, and Feldenkrais Practitioner. He’s a hidden treasure that few people find. Twenty years ago, I trained Kan to be an Alexander teacher. Now I am happy to say that Kan is my sensei. Every week we exchange work. Every week I leave his studio feeling comfortable and free, full of fresh insights into how my body is designed to work.

Because Kan’s an Alexander teacher, his own coordination is excellent and he knows how to make deep contact without using excessive force. His hands are firm but at the same time very soft. Nonintrusive. Being a Rolfer, Kan gets in there and reorganizes my body into better balance. Then, through his Feldenkrais training, he knows what movement patterns I need to play with to re-enforce my new found integration.

If you live in Japan, and you want to get your body comfortable and back into better balance, and especially if you are an Alexander trainee or teacher, I strongly suggest working with Kan.

I love learning from my students. It’s kind of like a parent who raises a child, and then that child grows up and helps out his parents. That’s how it feels.

Kan is a real gift.

https://www.facebook.com/kan.nishioka?fref=ts

Michael- Sensei

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Michael-sensei took a workshop with me some 25 or 30 years ago and could not understand how I got the changes I did in people without using any force. Being trained in Structural Integration, he didn’t know that was possible. He made a commitment then and there to study with me. He would come to a 5-day event, stay for 3 days, come up to me looking overwhelmed, and then leave. For the next six months Michael would assimilate, on his own, what he had learned and then six months later return again for another 3 days.  He knew how he learned best. I respected that. He told everyone he wasn’t in a hurry. Said he was in the 20-year program. He was. Twenty years later he emerged as one of my most creative and talented students ever to graduate the Alexander Alliance.

Essentially Michael Mazur figured out how to give Rolfing sessions with people standing up rather than lying down. He learned how to harness gravity and get it dropping beautifully through people’s bones into the ground. And he could do this with hands that no longer needed to use force. He worked from the ground up and not from the top down, which was a revelation to us at the Alexander Alliance. Michael was tapping into ground support by working from the bottom up. When working from the top down, we were tapping into uprighting reflexes and mechanisms that created support through suspension. Both were invaluable.

Michael spends half the year teaching just outside of Amherst, Massachusetts, then in December he heads down to Palm Beach, Florida where he spends the other half of the year teaching, but mostly enjoying himself, which he is good at. Michael is fun. Oh yes, Michael makes his way to Germany once a year and teaches for Alexander Alliance Alumni and for others interested in his way of working.

So if you live in America or Europe I suggest making your way to Michael-sensei. And if you live in Japan, then I’d get on the Hankyu and get off at Nishinomiya Kitaguchi, and introduce yourself to Kan Nishioka.

http://www.alexandertechniquepalmbeach.com/about-us/

https://www.facebook.com/michael.b.mazur?fref=ts


Understanding Human Directionality: Advanced Training for Alexander Trainees and Teachers

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Alexander said, “Prevent the things you’ve been doing, and you are half way home.” This implies that Alexandrian inhibition takes you half way home, and that a deep understanding of directionality gets you all the way home.

In 1994, on one particular day, while training my first batch of trainees at The Alexander Alliance in Kyoto, I discerned what the Primary Pattern looked like, if one were to be able to see it. It was a double helix, volutions, elegant whorls. There were two main complimentary opposing directions, directional threads that weaved their way from the head down to the ground, perfectly balanced by directional threads that weaved themselves from the ground up to the top of the head. I was seeing before me a most delicate and powerful braid, a fluid web of support.

That day a guest visited the class. She sat silently, all but invisible, for four hours and watched. At the end of class she approached me and thanked me for allowing her to observe. She said she found the pattern unadorned, graceful yet powerful. While watching she said she could see red salmon rising up within tall waterfalls. She bowed and left. I never saw her again.

From that day forward this pattern of human directionality was referred to within the Alexander Alliance as Salmon Rising/Water Falling.

On a cold, snowy night after finishing my work in Japan, I slept long and deep. When I awoke, I looked out a small plane window into the bright sun. It was summer, in Australia. I invited Erika Whittaker to attend one of my workshops in Sydney, wanting the benefit of her observations. After the workshop I asked Erika what she thought about my new way of conceiving Alexander’s directions. She said what I was teaching was indeed Alexander’s inherent directions, but that I was getting it across to people in a way that was more articulate, more beautiful and more comprehensive. She said she preferred my use of natural metaphor given that we were natural and that our work was about naturalness. She then proceeded to give me concise suggestions for which I was most grateful. I felt confirmed. I was on my way.

This obsession continued, to the dismay of some of my students, (as this obsession was relentless), for 15 years before I was ready to move on. But during those fruitful years, my vision of human directionality grew ever clearer. I was able to give my students vivid experiences of this pattern at work within them. I taught them to see this pattern in others. Most satisfying of all, I taught my students how to sense the functional beauty of this pattern through their hands, and how to enliven and engage this pattern within others. Increasingly they came to understand what human integration looked like and felt like.

Recently I have begun to perceive another directional design comprised of moving spheres within the body. This model of human directional life is new and relatively unexplored, but full of promise. These two directional systems, the helical and the spherical, are themselves interwoven.

If you are an Alexander trainee or teacher and curious, or perhaps even joyfully obsessed with human directionality as I am, then I can speed you on your way, I can give you the benefit of my years of investigation, and contemplation, into how we are directionally designed.

Five Day Coyote Home School Retreat
July 1 to July 6, 2014
Cost: $1250. Includes classes, food, lodging.
Size: Limited to four students. Register Early!!!


Give Me Two Good Reasons Why…

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…I Should Go To Coyote, New Mexico.

Okay. Here they are.

First Good Reason

There’s an old man living in Coyote, New Mexico who’s been teaching human movement for over 50 years, studying the Alexander technique for 43 years, and directing a teacher training program for 31 years. He’s trained over 200 Alexander teachers, and has been invited to teach in 16 countries.

It seems like a dream, but it wasn’t a dream. It’s been my life. What’s harder for me to grasp is having worked, through my hands, with over 15,000 people. Having literally touched so many people, not just a passing handshake, as have lots of politicians, but having worked with one person after another, seeing them, touching and touched by their holding patterns, their fears and disappointments, as well as touching and touched by their inherent dignity and beauty. That’s what has moved me most.

Very slowly, I’ve developed tactual skills that I do my best to impart to others. My hands know, sensorially, far more than I will ever know cognitively. Though I often cannot tell my students what my hands are doing, I can teach them how my hands do what they do. I do my best to demystify my work, but the mystery still remains.

I have always, and I will always do my best to pass on what I have learned from my mentors,  five first generation Alexander Technique teachers, what I have learned from my students, and what I have learned through my own mistakes, curiosity, and hard work.

Second Good Reason

D.H. Lawrence…

 New Mexico liberated me from the present era of civilization, the great era of material and mechanical, [and now technological], development.  It was the greatest experience from the outside world that I have ever had.  Touch this country and you will never be the same again.

Ansel Adams to Alfred Stiegliz…

It is all very beautiful and magical here – a quality which cannot be described.  You have to live it and breathe it…The skies and land are so enormous, and the details so precise and exquisite that wherever you are, you are isolated in a glowing world between the macro and the micro, where everything is sidewise under you and over you, and the clocks stopped long ago.

The outside world is our sensory awareness teacher at the Coyote School. There is none better. We venture into that world everyday. We need no clock at the Coyote School. We know when to eat, when to begin and end class, when to head out to the lake, or climb Chimney Rock, or drive up into the 1.3 million acre National Forrest that is our backyard. We know when to sit in the Ofuro and soak. We know when the Milky Way is vivid above us that it is soon time to sleep.

The Coyote School is a refuge, and safe place, a place where you can rest and unwind, where you can undo some of the habits that bind you. There’s some freedom to be found at the Coyote School. Write to me if you have any questions. 

bf@brucefertman.com

Please join us. You are welcome here.

Bruce Fertman

Note: Our 2014 retreat for Alexander trainees and teachers is now open to four participants. It runs from July 1st to July 6th.  http://peacefulbodyschool.com/2014/01/06/understanding-human-directionality-advanced-training-for-alexander-trainees-and-teachers/

Stay posted to find out when our other 2014 Coyote Home School retreats will take place.


Autobiography Of A Renegade Alexander Teacher

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Bruce Fertman 1971

Bruce Fertman 1971

My mind rains down memories thought long forgotten.

There was this kid, Fred, in my junior high school. I can’t remember his last name. There was something I liked about him. He was different, that is, from me. He was a twelve-year old chubby catholic boy with thin, straight blond hair, a pug nose, and icy blue eyes.

Fred entered Leeds Junior High School, not in the 7th grade, like everyone else, but in the 8th grade. No one knew why, except me.

Fred got kicked out of St Raymond’s, a catholic school in my neighborhood where the girls wore pleated, navy blue skirts and white pressed, button down shirts and were the prettiest, most off limit, sexiest creatures walking on two feet. At least that was how I felt about them, a brown eyed, wavy haired Jewish boy.

Fred spent only one year at Saint Raymond’s, a year which suddenly ended the day a nun hit him across the knuckles with a ruler, over and over again, for passing a note to one of those particularly cute girls. Without thinking, like lightning, Fred snapped that ruler from the nun’s hand and smacked her across the face with it.

There we were, Fred and me, meeting up in the pitch dark, at 7 AM, on a wet, windy December morning. We had to get to choir practice by 7:30AM – an hour before school started.

We were waiting for “chicken legs” to come in, our choral director. I was amusing myself, and showing off, swinging back and forth between two chairs, as if I were on the parallel bars. The goal was to swing up to a handstand. Fred was sitting on one of the chairs and Glen Fortunato on the other. I remember Glen’s last name because he was the kid that suggested I go out for the gymnastic team. I wish I knew where he was now, so I could thank him for saving my life.

With one free, fateful swing, I swung up to a perfect handstand, and just as I did I caught a glimpse, between my arms, of old chicken legs walking upside down into class. That was it. I was kicked out of the choir, on the spot.

I liked singing. I liked singing a lot. I liked singing so much that when my parents bought their first stereo, a Magnavox, a cheap, essentially empty box housing a record player with an automatic arm, and a “diamond” needle, capable of playing 45’s, singles, 33’s, long playing records, and 78’s, the setting that worked for some of my grandfather’s thick, old records, I was ecstatic.

Not only did we get the record player, we got twelve long-playing records, all at once, from the Columbia Record Club. I proceeded to listen to these records, constantly, until they were ingrained in my brain where they remain in tact until this day. My Fair Lady, Oklahoma, Gigi, Chinatown, West Side Story, Showboat, Johnny Mathias, Andy Williams, Judy Garland, Gershwin’s Rhapsody in Blue, and An American in Paris, Ferrante & Teicher, two guys that played piano back to back, and finally, Dvorak’s New World Symphony.

Around the new stereo, there were four large, square, plastic cushions; two were black and two were powder blue. The cushions had black tassels dangling from the four corners of each pillow, like some Jewish/Japanese tallis. I would place two cushions under my head, position my head precisely in between the two speakers – real stereo sound – and there I would remain for hours, listening and singing, but most importantly, imagining.

Suddenly, something would possess me. I had to move. Reflexively, I’d spring up and start doing handstands against the wall, then handstand pushups, many of them.  When my arms began to shake uncontrollably, I’d spring onto my feet, leap up the steps, three at a time, turn around, lean forward, then execute near flawless falls down the steps. Usually I waited until my mom was about to go upstairs for something. I’d let out a terrifying scream, and down I would roll head first against the right wall, then into the banister on the left, until I landed in some contorted position at the bottom of the steps, moaning in pain, like I had just broken my neck in four places.

Directly I was sent to my room “to settle down.” Head lowered, I would gently close my door, take a deep breath, and proceed to throw all my pillows and stuffed animals up into the air and see how many I could strike, kick, and kill, before they touched the ground, dead.  Twelve causalities was my record.  I had never heard of, or seen a martial artist, but without knowing it, I had begun my training.  After an hour of punching and kicking and sweating I would feel, how should I say, rested.

If I were born in the late eighties, I’d for sure be one of those ADD kids on Ritalin. But as far as my mom was concerned, I was just a normal, fun-loving kid with five times the energy of any child she had had the pleasure, and misfortune, to meet. Sure I stuttered and had reading problems and could not sit still, and sure I had temper tantrums at random, whereupon I would run, approximately at the speed of light, around the dining room table for twenty minutes. But as my mom so calmly explained to Aunt Lee, our next-door neighbor, “Boys will be boys.”

Now that I think about it, Fred and I were not so different. And maybe that explains why we decided one Saturday morning to take a hike together. We put some water in a couple of aluminum canteens covered in green army canvas, with thin straps enabling us to wear them slanted across our hairless chests, making us look like the tough guys we believed we were. We headed off into what was, for us, unknown territory, well beyond the borders of East Mt. Airy, our neighborhood of endless two-story, red brick row houses.

We ventured all the way up to Ivy Hill Road, which was like the northern most edge of the world. I looked up to the top of a big radio tower, and there it was, the red flashing light.

You see, when I was five years old, my mom would come into my room at night, tuck me in, look at me and have me recite with her, “Now I lay me down to sleep, I pray to God my soul to keep, and if I should die before I wake, (And if I should die! What is she talking about?)  I pray to God my soul to take.”

Then real fast my mom would add, “Sleep tight, don’t let the bed bugs bite, (Beg bugs! What bed bugs!), and when you wake up in the morning everything will be alright.” (But what about the bed bugs!)

“Good night,” she’d sing as she swaggered cheerfully out of my room, feeling like she’d performed a minor miracle, or won a major world war. Bruce was down for the count.

As soon as my mom was gone I’d throw off my covers, kneel Japanese style at the foot of my bed, and gaze out my window over the flat rooftops into the night sky. Living in the city, and unlike the planetarium, there were not many stars to see. The few I could see were white and twinkling except for one, which was red, and flashed on and off, like it was breathing.

God, I thought. That must be God. It didn’t occur to me to wish for anything, or tell anyone. It just felt like a secret that deserved to be kept.

So when I saw that red light flashing on top of the radio station, I felt hurt, and embarrassed. Once I had believed in that red star. I believed I was, in some mysterious way, connected to that red star. Maybe that red star had something to do with my unusual amount of energy?

It was a real disappointment seeing the red light just sitting up there atop some big, metal erector set. But I accepted it as a signal. It was trying to tell me something, in code. But what?

Exactly what it was Fred and I were looking for, we wouldn’t have been able to say back then. But now I know we were out there looking for a world we could live in.

We turned left, and headed down Ivy Hill Road, past a cemetery, ducked under a fence and came upon a huge green pasture. There, standing before us was a big, official looking sign. It read: The U.S. Department of Agriculture.  No Trespassing.

Fred and I looked at each other and thought the same thing at the same time. How can you be on an adventure without trespassing? So we disregarded the warning. We broke the law. We became partners in yet another crime.

I had never seen such green grass, and so much of it, so much green coming into my eyes all at once. We took off our shoes and socks. The grass was thick. I could feel it pushing up between my toes. I gave my shoes, my socks, and my canteen to Fred, then proceeded to execute high, arching dive rolls over and over again, the kind I did in tumbling club, flying over twelve boys, on their hands and knees, lined up in a tight row. As soon as I caught my breath, I proceeded to do a back handspring, then another and another, an endless row of back handsprings, each one faster than the one before, until I was so dizzy I could not tell the difference between the blue grass and the green sky.

Fred attacked me when I was down. We wrestled and rolled until we were dripping with sweat. Out of steam we pulled up some long pieces of grass, leaned our backs against the trunk of an old tree, legs outstretched, ankles crossed, put the grass in our mouths, and chomped on it like two hobos. We sat there, under the tree, by the railroad tracks, waiting to see what would happen.

I had placed a three pennies, and one Indian head nickel, on top of the tracks. As if by command, a big, slow moving, mammoth locomotive, with a half dozen or so cars attached to it, appeared, and rolled over our little silver and copper coins.

Totally smashed, hot to the touch, Fred picked up the three pennies. I picked up the Indian head and gave it to Fred, which was not easy. We were true friends, together on a true path.

We came to a particular street. This was no ordinary street. It was Stenton Avenue. Crossing Stenton Avenue meant being out of our neighborhood. We knew this to be an indisputable fact, because we knew if our parents knew we were about to cross Stenton Avenue, they’d be furious, and we’d be in big trouble.

There we stood at the red stoplight, at the intersection of Ivy Hill Road and Stenton Avenue. We knew crossing Stenton Avenue meant, yet again, breaking the rules. The light turned green, and without hesitating, we flung our arms around each other’s necks, defiantly tossed our heads back in delight, and floated across Stenton Ave.

Once on the other side of Stenton, the railroad tracks mysteriously disappeared. We climbed down a steep hill and found ourselves in a forest. A tiny brook trickled by. A fawn stood motionless. Rays of light shone through the trees. Glancing back at Fred, in disbelief, I then turned back to look at the fawn and it was gone.

There was no turning back.  We had crossed over. Fred and I followed that brook until it became a stream. We followed that stream until it became a river. We followed that river until it met and flowed into an even larger river!

Then we called my mom. Luckily, Fred had a dime in his pocket and enough sense not to have put it on the railroad track. I told my mom we were in some really big city, maybe downtown Philadelphia.  I told her we had no money, that our socks and sneakers were soaking wet, and that we were starving of hunger.

My mom picked us up. Silently, we drove back up the river, crossed over Stenton Avenue, passed by the flashing red light atop the radio tower, drove by Leeds Junior High School, and Saint Raymonds, and re-entered our old neighborhood. I needed some air. I rolled down my window and stuck my face out into the wind.

The little red row houses looked smaller than ever.


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