PAINTING 70 MORNINGSIDE

 

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I spent Columbia Commencement 1974 in the day room of the psychiatric ward of St. Luke’s Hospital, staring balefully across at the sacral bulk of the Cathedral of St. John the Divine on Amsterdam Avenue.

 

That spring in a burst of manic fury I had completed my MA thesis on the Buddhist priest, Dōkyō, who seduced the Empress Shōtoku and tried to make himself Emperor of Japan in 769 AD. It was published in 1979 in Monumenta Nipponica, a musty academic journal edited by an elderly British Jesuit in Tokyo.

 

The Dōkyō affair was in the zeitgeist, albeit a highly esoteric zeitgeist, of the 1970s. Cappy Hurst (GSAS 1972) presented a paper titled “Dōkyō and The Virgin Empress” before the American Oriental Society in 1976. Also that year an eminent American student of Japanese Buddhism (fortunately not a Columbia man) published a vulgar “Ribald Classic” on the topic in the pages of Playboy magazine, including such shocking (and historically unverifiable) lines as the following:

 

“Then she would climb onto the lap of her statuesque master, fondle the long lobes of his Buddhalike ears and place her naked arms around the pillar of his neck. He, in turn, would look the look of great peace into her eyes and let rise within her the pagoda of his love.”

 

At the end of the decade Doubleday published The Vermilion Bridge, Shelley Mydans’ elegant  novel of 8th century Japan, which, while a romantic fiction, is remarkably accurate in the historical details of the relationship which can be ascertained. And of course Donald Keene’s magisterial Seeds in the Heart (Columbia UP, 1999) reveals all the salacious particulars of the affair between monk and empress as imagined in later Japanese literature.

 

In fact, of course, contemporary 8th century documents don’t give all the scandalous details. And one modern Japanese historian has concluded that the relationship between Dōkyō and the Empress was the result of an attraction between two strong natures, and speculated that they may have been “just good friends.”

 

But the affair came strangely to the fore in the 21st century, as the Japanese Diet debated an amendment to the constitution to again permit a woman to occupy the throne as Empress in her own right. The death of Empress Shōtoku in 770 brought to a sudden end a powerful archaic tradition of strong female monarchs in Japan.

 

In the fall of 1974, in the grips of a monstrous depression, I moved into my “suite” at 70 Morningside Drive. I say suite advisedly, because the apartment for three consisted of three small bedrooms, a bathroom, and a cramped kitchen. The old tenement building had been converted, apparently in some haste, into a Columbia dormitory for graduate students. My bedroom, about 6 feet wide and 9 feet long, contained a bed with a lumpy mattress, a desk complete with chair and lamp, and a miniscule closet. It put me in mind of one of those medieval torture chambers known as “The Little Ease.”

 

Still, it had a splendid view of Morningside Park, and as the leaves changed color that fall my mood began to improve. With the encouragement of my patient advisor, medieval Japanese historian Paul Varley, I concentrated on finishing my remaining course work for the Ph.D.

 

In the spring of 1975 I obtained part time employment in the Columbia Residence Halls Office in what was then Livingston Hall.  The duties themselves were mundane – filing paper receipts, answering questions at the business window, delivering mail occasionally in the Carman and Furnald Hall mailrooms. But it got me away from my ancient Japanese studies and eventually from my funk. The undergraduates and the office staff were bright, lively and entertaining.

 

Things began looking up. I won a scholarship to study Japanese language in Tokyo that fall. I moved out of the dormitory and found an apartment with friends.

 

And then came my big break – a full time job with the Residence Halls during summer vacation, supervising a crew of undergraduates painting 70 Morningside.

 

My painting crew comprised several Columbia College students and myself. Our assignment was to paint the kitchens and bathrooms of the old tenement in an ugly institutional yellow. I quickly organized my men into three squads of two. We began on the top floor and planned to work our way down.

 

The team was as ethnically diverse as a fabled World War II bomber crew: black, white, Hispanic and Asian. We would form up at eight o'clock in the morning and, after downing a donut and a cup of coffee, set to work. For the first few weeks we followed a strict regimen – coffee break at 10, lunch from 12-1, afternoon coffee break at 2, cleaning our brushes and rollers at 3:30, dismissal at 4.

 

Then, inevitably perhaps, a certain tedium set in and the painters became somewhat restless, dragging in late for work, extending the coffee breaks, and disappearing for several hours over lunch. Fortunately, during the fourth week we discovered an immense trove of pornography that one of the grad students had left in his closet. Some of it was the graphic type – Penthouse and Playboy – but surprisingly the bulk of it was literature, after a fashion.

 

My undergraduates were all very bright, of course, and having been through the standard Columbia curriculum had rather sophisticated literary tastes. One was reading The Decline and Fall of the Roman Empire (the unabridged version) for his summer pleasure reading. Another was an expert on the work of Evelyn Waugh. Another could recite all the Monty Python routines verbatim.

 

So I was not surprised that they soon tired of the graphic porn; they discarded it, or at least it disappeared, and they turned to the erotic novels in earnest. At this point I began to be seriously concerned that I had an informal strike, or at least a work stoppage, on my hands. To call in the Director of Residence Halls to restore order would constitute a serious loss of face on my part, and might even lead to some dismissals. I was most concerned, of course, about the future of my own career at Residence Halls.

 

To restore a modicum of discipline in my crew, and to refocus their energies on painting, I hit on the idea of reorganizing the gang into three-man units.  One man would be appointed “reader”, while the other two would paint. After a given period, the duty of reader would be rotated. To my relief, this arrangement worked splendidly, and we finished slopping yellow paint on a whole floor of kitchens and bathrooms in short order. I commended myself on my managerial flexibility and finesse.

 

But there came a day when the porn ran out and the crew again began to be fretful and rebellious. I was dating a Chinese woman at the time, and one afternoon one of the more openly smartassed kids asked me point blank “Is it true that Chinese girls are trained from childhood in the art of pleasing men?” I could see the other workers smirking behind their paint brushes but I kept my cool, and answered pleasantly “I don’t know. Why don’t you ask one?”, heeding the words of the Proverbs that a gentle answer turneth away wrath.

 

Another time, during coffee break, I came in to find the guys discussing “harsh taskmasters” and whether Moses had been ethically correct to murder the Egyptian overseer. One related an anecdote about how a worker servicing Coke machines had taken revenge on an unpopular boss by spraypainting the words “Fuck you” on a whole shipment of soda pop bottles before inserting them into the dispenser.

 

And so the long summer wore on, and as the temperature rose my crew seemed less and less inclined to actually work. I instituted Friday afternoon Hearts games beginning pretty much when everyone had returned from lunch break. This proved popular, but soon turned into “Friday Hearts and Tequila Time.”

 

Finally, in some desperation, I hit on the idea of Jeopardy games. In the three man crews, one worker was assigned to come up with answers in several categories, while the other painters would take turns making questions for points, just as in the TV game. This proved to be an immense hit with my witty and erudite crew, and soon they were striving to outdo each other by dreaming up esoteric categories to stump each other:

 

“Movies of the Forties”

“Lives of the Saints”

“Famous Degenerates and Perverts”

“Old Testament Heroes”

“The Fall of the Roman Empire

“The Novels of  Evelyn Waugh”

 

A typical answer in the $100 category of the latter might be “This was the color of Lady Margot Metroland’s Hispano-Suiza.” After I announced a weekly prize of a bottle of Jose Cuervo Gold for the top scorer, productivity rose sharply, and we finished another floor of kitchens and bathrooms in three days.

 

As the summer wore to a close, I received an invitation to a reception for Prime Minister Takeo Miki, who was to have an honorary degree conferred upon him in Low Library. The backstory was that the Japanese government under his predecessor, Kakuei Tanaka, had given a million dollars to the Japanese studies program at Columbia.

 

I bought a new suit at Barneys down on Seventh Avenue, and showed up resplendent at the reception, drinking champagne and eating strawberries at eleven AM in the rarefied atmosphere of the Low Library rotunda. In fact I was introduced to the Prime Minister by William Theodore deBary, and fortunately I had scrubbed all vestiges of the institutional paint off my fingers the night before with turpentine, so that I was able to shake his hand without embarrassment.

 

Soon it was time to be off to Tokyo. My first Japanese teacher, Ichiro Shirato and his gracious wife Masa took me to lunch on the rooftop restaurant of Butler Hall. After dining we went out onto the terrace, which happened to overlook the sordid roof of 70 Morningside. Atop the old tenement was a utility door leading to the roof. Scrawled across it in ugly yellow paint was the legend “Fuck Ross.”

 

The building was torn down during my subsequent absence, but I asked the Director of Residence Halls to save the door for me. It’s gotten lost in the shuffle of several moves since, but the sentiments of my worshipful crew of the summer of 1975 are still embedded like seeds in my heart.

 

--Ross Bender

 

In the Cathedral

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Amos Stoltzfus, Amish Druid