Fifteen Adults Laughing very hard Together

We’d been plotting the Cards Against Humanity game for a long time. Susan and David Hamrick, some of our favorite people on Earth, had recently lost Hazel, the beloved eldercat who sparked public outrage in Southwest Virginia when her owner surrendered her to the shelter at the age of 20; Hazel’s plight birthed a webpage for eldercat advocacy.

David and Susan also adopted Mal, the high-expense, high-care kitten with the cleft palate who crossed the bookstore lawn about a month before. So planning the CaH game was a chance for Hazel’s ashes to return to her hometown, Mal to see his adoring public now his feeding tube was out, and us to see David and Susan.

The participant list grew. Local doctors looking for a fun weekend (I work with regional medical recruitment); our sainted vet Beth, who diagnosed both Mal and Hazel free of charge; her husband TNB (we call Brandon That Nice Boy Beth Married, TNB for short); and a plethora of others, most of whom have adopted a cat from us. Being adult professionals, we had salad and vegetarian curry, black bean chili, and – in honor of Beth’s recent birthday – Peanut Butter Chocolate Reese Butterfingers Eight-Layer Cake with Cream Cheese Frosting.

Health care professionals know how to party.

And then the CaH came out, with the expander pack. Beth put bottles of her homemade Merlot on the table, and David set out his carefully hoarded Ben Nevis single malt.

But the fun started before the drinking, because the first card out of the gate was something like “How do you get laid?”

After Brandon won with a card that suggested certain specific activities in very precise anatomical locations, I turned to him and said, “I’m never calling you ‘That Nice Boy’ again.”

It all kinda took off from there.

There is something wonderfully healing about 15 adults sitting around a table acting like adolescents who have a deep background in politics. People literally snorted whisky out their noses, we laughed so hard.

And about every 15 minutes, someone shouted “Kid!” and the room went silent as the four young boys hanging out downstairs in the children’s room, playing with kittens under the supervision of a teen, came up and helped themselves to soda.

(Susan and I sent David and Jack to the store for children’s drinks before the party. They returned with a bottle of Mountain Dew. We sent them back for ginger ale.)

In the silence of an early “not in front of the children” moment, David said, “Did everyone enjoy the lovely weather today?” and we all died laughing again.

And again a minute later, when the winning response to “What are Jack and Leroy doing in the basement?” (there are blank cards for making up your own question) turned out to be “Her Royal Highness, Queen Elizabeth II.”

Jack’s praying for Scottish Independence, come September. He and Leroy were downstairs sorting a quick plumbing problem before joining the game.

Yeah, it’s raucous and raunchy and irreverent, but CaH is such good steam-valve-release fun. We play by the “everybody gets one veto” rule. Donald refused to play a Holocaust card; I put back “The Blood of Christ”; Kelley doesn’t allow the one about a pool of children’s tears. Everybody has limits.

But few and far between, for the most part, and sitting there watching 15 adults return to high school in their brains while eating vegetables and drinking responsibly, laughing themselves silly in good company, I couldn’t help thinking, “This is why Jack and I started a bookstore.”

Sitting around that table: two cancer patients, the mother of another, a cancer survivor, three medical professionals who make life-and-death decisions every day, a government employee, two professors, a couple trying to get pregnant, four people who lost parents this year, and two newly-fledged adults launching into the world. This world.

To have these moments, this place, where you can stop being the Responsible Adult, cut loose, and enjoy life is a rare and wonderful thing. We’re so lucky to be able to do this.

 

The Monday Book: CALL THE MIDWIFE by Jennifer Worth

Worth imageOne of the nicest things about vacationing in Scotland is that the books landing in charity shops there are completely different from here. I must have counted six copies of Gone Girl and two of Divergent.

Jack and I scored several titles, including one I’d intended to get to since enjoying the series on Netflix. Call the Midwife is actually part of a trilogy of books Jennifer Worth wrote; the others are Shadows of the Workhouse and Farewell to the East End. (She also did one on hospice nursing later.)

I enjoyed the books, but this is one of the few times I have to say watching the series first helped. I’m not up on 1950s and ’60s medical parlance or practice, and there are details in Worth’s writing that I wouldn’t have understood without seeing them played out in pictures first.

Worth tells her story in simple, straightforward ways. It isn’t her writing that’s attractive so much as the details she gives, her way of understanding how humans are feeling. One might be tempted to use the word “clunky” once or twice on certain passages. She died in 2011, just as the series based on her books was coming to TV. Not having had the chance to meet her, I suspect she’d have proven a great humanitarian rather than wordsmith.

Still, who cares, because the stories in Midwife are fascinating, compelling, and lovely to read after seeing them portrayed. Some were taken straight from the book, others embellished from mere hints and whispers she included in passing. A lot of her descriptions were taken care of with just a couple of camera shots.

Let me say it again: it is the stories and not the storytelling that makes this book a great read. It is a methodical and prosaic capture of a way of life now over: one feels the pavements, smells the odors, and shares the fears and happinesses. Worth writes like a camera takes pictures, presenting snapshots, no corners left dark.

Worth’s life is in itself fascinating. She married in 1963 about ten years after she became a nurse, had two daughters, and left nursing in 1973 to teach piano and voice at a college. And she didn’t start writing until late in life. Midwife came out in 2002, and took five years to reach bestseller status.

Worth reminds me of another favorite book from a British author, The Gurnsey Literary and Potato Peel Pie Society. The older of its authors didn’t start writing in earnest until late in life; her book was also post-humous, and a bestseller, and took a snapshot of a terrifying yet exuberant time to be human.

Let that be a lesson to those of us who write; get going. Stories need to be told more than perfected. Think what else these woman could have given us if they’d started earlier.