The Goldfinch and the Griping

Review: The Goldfinch by Donna Tartt (New York: Little, Brown, 2013). 784 pages.

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so many words.

You've heard about The Goldfinch, Donna Tartt's big blockbuster of a novel, her third. Yes, I heard about it, too. People were digging it, they were loving it, they were staying up all night to read it. I wasn't sure I was ready to commit. BECAUSE IT'S 784 PAGES LONG, PEOPLE. But then one day I noticed it was only $2.99 for the Kindle version (and even 784 pages can't add more than a few Kindle ounces, I figured) so I took the plunge.

The Goldfinch is the story of Theo Decker, a boy in Manhattan whose mother is killed in a terrorist attack on the Metropolitan Museum of Art when he is 13. "Things would have turned out better if she had lived," Theo tells us right up front. And he's right: the novel tells the story of all the bad choices, bad luck, and some good luck, he finds in the decade or so after her death. Sheltered by strangers, some kind and some odd; exploited by his ne'er-do-well father; befriended by freaks and hustlers, Theo somehow manages to keep his head just above water and survive the storm that takes over his life after his mother dies. Just barely.

There's a lot to like and even love in The Goldfinch. Tartt is a meticulous observer of detail, from the way paint covers a canvas to the subtle interior monologues we have with ourselves, minute by minute each day. "Was it wrong," Theo wonders, "wanting to sleep late with the covers over my head and wander around a peaceful house with old seashells in drawers and wicker baskets of folded upholstery fabric stored under the parlor secretary, sunset falling in drastic coral spokes through the fanlight over the front door?" Those "drastic coral spikes:" those are so nice.

But the interested reader has heard what's great about The Goldfinch already: it's a ripping yarn; it's a Dickensian tale of morality for our time; it pulls you into its own special world. Fine, if it does that for you. At times, it did for me. But the more I read of The Goldfinch, the longer my list of questions and grievances grew. I didn't even know I had a list at first, but looking back over my notes, question marks, and increasingly agitated exlamations, I realized I had some Goldfinch Gripes. They boil down to three things: Why Are They Talking Like That?; Snobs; Plot vs. Action.

1. Why Are They Talking Like That?

Tartt is terrific at getting visual details right but not so great at the aural. This is especially the case with the way her characters speak. Theo... Theo's fine. It's Theo's friends who drove me crazy.

Boris, for instance. It makes sense that Theo's Russian friend Boris would named in honor of the mustache-twirling bad guy of "Bullwinkle" fame, Boris Badenov, because that's exactly how he talks. "Allow me to introducing myself. I am Boris Badenov, world's greatest no-goodnik." This is not a quote from The Goldfinch (it's from Rocky and Bullwinkle) but that's what I heard every time Boris opened his mouth. "Likely you will end up in jail, Potter," is a typical Boris comment. "Loose morals, slave to the economy. Very bad citizen, you." Pottsylvania is not named as one of the dozen countries in which Boris had lived, but I wouldn't be surprised; all the Badenovs come from there.

Then there's Hobie. I can't tell you how many times I stopped while reading his dialogue and asked myself (and the book): Wait, did Tartt say Hobie's from upstate New York? She did, didn't she? She did. And yet everything Hobie says sounds like something my favorite Leeds-born, London-living writer Alan Bennett would say. "Tough pull to get in but then a doddle once you’ve made it," Hobie tells Theo. I have no idea what that means, not being British myself, but then again NEITHER IS HOBIE.

Nor, for that matter, are the Barbours, the wealthy family that shelters Theo after his mother's death. Are they supposed to be some 21st-century version of Salinger's Glass family? I guess not, because the Glass family did not say thing like: “Well, you know, I slightly think she’s out there playing golf today.” (Kitsey Barbour) or "We none of us drink it—Daddy always ordered this kind” (Kitsey again). Keep in mind, Kitsey is supposed to be a twentysomething young woman born sometime during the  Clinton administration and raised in New York City, not in an interwar British girls' school run by Lord Sebastian Flyte and his teddy bear. “You seem in a really dire mood," Kitsey says. YES, IT'S BECAUSE OF THE WAY YOU'RE TALKING, KITSEY.

2. Snobs.

Kitsey's a nice lead-in to the next issue: snobs and snobbishness. When Theo, who is from a lower middle-class family, is orphaned and then taken in by the Barbours, he's stunned by their wealth. The huge antique-filled apartment on the Upper East Side, the art, the chauffers, the staff... it's as much of an aesthetic thrill for him as the painting of the goldfinch. Tartt is terrific at describing the textures of life with the ultra-WASPs. But try as she might, she can't quite make them into the bad guys they really are. At first I thought this was Theo's issue and it made sense: they did take him in when his mother died, after all. Then they coldly cast him aside as we always suspected they would. Later, he's brought back into the fold, but only because it suits their purposes and eases their guilt. They're not good people and yet Theo -- and more importantly, Tartt -- can't bring themselves to walk away from the Barbours and their money, their glamor, and most importantly, their status. THE BARBOURS ARE A**HOLES, OK? They're snobs. But somehow we're supposed to like them, or if not like them, forgive them, or if not forgive them, find them fascinating?

Meanwhile the poorest people in the novel, Theo's deadbeat dad and his girlfriend, a stripper named Xandra, are simply pathetic; every aspect of Xandra, from her profession to her self-styled name (it's really Sandra) to the fact that she hails from Florida are neon signs flashing "CHEAP" and attached to characters about whom we're not expected to care. Xandra in particular is immediately recognizable as the kind of bimbo usually only seen in Woody Allen movies (think Mighty Aphrodite). We're supposed to think she's lame. But a working-class girl from Florida who decides to juice up her name by adding an X to it is light years less phony than someone like Kitsey Barbour--or any of the cold-blooded social-climbing Barbours. An adult woman (Kitsey) who refers to high heels as "Hurty-hurty shoes!" and calls her boyfriend "Meanypants" is not a glamorous ditz. She's not even a manic pixie dream girl (that honor goes to Pippa--but let's not even go there). She's just a fake. While eventually even Theo manages to escape her thrall, one senses that Tartt is never fully out of love with the Barbours. Xandra can be tossed out with yesterday's newspapers but the Barbours somehow deserve a better fate."I was only one step away from some trailer park loner," thinks Theo, musing about his obsession with Pippa, "stalking a girl he’d spotted in the mall." No, not a trailer park! Not a... a... mall! The horror, folks. The horror.

Moving on.

3. Plot vs. Action

No question, a lot of stuff happens in The Goldfinch; that's the "ripping" part of the yarn. But action is not the same as plot. And this novel's plot is beside the point. There's one MacGuffin that emerges in the beginning of the novel and is never satisfactorily resolved: Theo's possession of the stolen Goldfinch painting. Yes, he took the painting from the Metropolitan Museum in the aftermath of the explosion. And yes, it would require some explaining on his part to make the authorities understand why a teenaged boy has this masterpiece stored in a pillowcase, but HE COULD JUST RETURN THE PAINTING TO THE AUTHORITIES AT ANY POINT WITHOUT ANY REAL NEGATIVE CONSEQUENCES. They're not going to throw him in jail or torture him or.. anything! They'll just be happy to get the painting back. So when, after 780 (!!) pages HE DOES EXACTLY THIS I kind of wanted to throw the book across the room. But as I mentioned, I was reading it on a Kindle and I didn't want to dent the precious gadget.

With only 5 pages to go, I finished the novel. There's a lot to admire in this book. But it would have been much better had it been edited more carefully and its length cut by, say, 40 perecent. That would have cut lines like this description of people in Amsterdam: "rosy housewives with armloads of flowers, tobacco-stained hippies in wire-rimmed glasses"-- what, no flaxen-braided milkmaids wearing wooden clogs in this Dutch cartoon?--or this internal monologue of Theo's: "I wanted to say goodbye to Pippa but she was nowhere in sight. Where was she? The library? The loo?" Again: NONE OF THESE CHARACTERS ARE SUPPOSED TO BE BRITISH. Sigh.

A 315-page Goldfinch? Yes, pelase. As Hobie says, it might have been a "Tough pull to get in but then a doddle once you’ve made it."

 

The Anti-Hardass Style in American History: "American Fun" by John Beckman

 

AMERICAN FUN: Four Centuries of Joyous Revolt

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By John Beckman

Pantheon, 432 pp., $28.95

[This review was originally published in the Boston Globe Sunday BOOKS section, February 2, 2014.]

You’ve heard the story of the Englishman who sailed to North America in the 1620s in search of a new way of life. He looked back on the fraught religious environment of England and swore that on this continent life would be different. He envisioned a civilization based on equality, freedom, and above all, “a barrel of excellent beare [beer].”[15] This man was, of course, Thomas Morton.

In what is now Quincy, Morton founded Merry Mount, “an experiment in insanely energized democracy” [5] that offered if only for a few years (1627-1630) a different vision of the way American culture might have developed — had William Bradford, governor of the Mayflower Colony, and his fellow Pilgrim killjoys never shown up.

John Beckman’s new book, “American Fun: Four Centuries of Joyous Revolt,’’ is an attempt to drag yahoos like Morton back into the mainstream of American history because, as Beckman writes, “American democracy hasn’t been fortified by passive citizens . . . but by active, resistive, DIY citizens.” [320] Citizens, he suggests, like Morton, who was “cheerful, curious, horny, and lawless . . . a radical democrat and reckless hedonist.” [5]

Beckman, an English professor at the US Naval Academy, pits Bradford against his b?te-noir Morton, thus establishing a key conflict in the nascent American psyche: The Man vs. He Who Sticks it to The Man. Bradford battled the native Wampanoag; Morton befriended them. Bradford outlawed “gameing [sic] and reveling in the streets” [7]; Morton encouraged it. Most significantly, Morton released his English bondsmen from their labor contracts and treated them and the local Native Americans as equal partners in building a new society.

As a result, Merry Mount prospered, celebrating its success with drinking, parties, and a raucous May Day celebration. But this “harmless mirth” brought the wrath of their hardass Calvinist neighbors, who in 1628 attacked with an armed militia and forced the settlement to disband. [18] When John Winthrop and his fellow Puritans showed up two years later to build their “city on a hill,” one of their first acts was burning what was left of Merry Mount to the ground. [20]

From our post-“Animal House’’ vantage point we readers already know that Merry Mount was merely the start of the American party. “American Fun’’ takes the reader from the Colonial period (the Boston Tea Party) through the antebellum South (slave gatherings in New Orleans’s Congo Square) through westward expansion (Mark Twain’s reports from the Gold Rush boomtowns and Buffalo Bill’s Wild West Show) to 1920s flappers, Woodstock, and finally the punk scene of 1980s California.

Beckman states right away that he’s not interested in mere “entertainment” nor simple “amusement” [xvii] but “outrageous, even life-threatening fun.” [xiii] He isolates “three tributaries” of American fun: “the commercial, the playful, and radically political . . . [that] pour nutrients, pollutants, and sheer life force in to the great American gulf.” [xxiii] The pursuit of happiness is, after all, every American citizen’s unalienable right.

Analyzing fun, however, is no joke: the better one does it, the more one risks sounding like a hungover college roommate describing last night’s epic pub crawl. While Beckman, whose previous book was the novel “The Winter Zoo’’ (2002), writes with wit and energy and mostly rises to the challenge he’s set for himself, it can be a bit of a buzzkill to hear a joke explained.

Beckman wants to show how fun has functioned as an engine of democracy, a unifying force for “the teeming masses, the mixing millions who would exploit the New World as an open playground for freedom, equality, and saucy frolic.” [5]His admiration for the “unsung America of rebels, merrymakers, outlaws, and freaks” [233] is obvious.

Yet apart from Morton’s quashed experiment, did fun really bring Americans together? Raucous merrymaking helped solidify distinct group identities, but it rarely seemed to unify Americans across racial, gender, or class boundaries.

From the muddled racial politics of the original 1773 Boston Tea Party, which featured white men dressed like Indians (but no actual Indians), or Pinkster, the 19th century celebrations, which allowed African-Americans to celebrate their culture apart from whites, most of the fun times featured here are members-only events. The rough “fun” of the California Gold Rush era was, as Beckman points out, a racially- and gender- segregated phenomenon, not to mention a genocidal tragedy for the Native Californians. And on it goes, from Los Angeles’s anti-Latino Zoot Suit Riots in 1943 to the nearly all-white hippies and Yippies of the 1960s. Did Americans have fun? Sure. Did that fun “allow people to form close bonds in spite of prejudices, rivalries, and laws”? [xiv] Maybe not.

And what’s so American about “American fun,” anyway? Beckman argues that there is a “striking pattern” here: “A group of rebels . . . takes joy in resisting a stern ruling class and entices the people to follow its lead . . . it’s the fun of breaking the master’s laws.” OK, but isn’t that what fun is everywhere? Visions of ecstatic Brazilian samba lines danced in my mind as I pondered this new frontier of American exceptionalism.

Where Americans have really excelled is in the art of making fun pay. P.T. Barnum was famous not only for his circus acts but for his inspirational books, the last of which was titled, “The Art of Money-Getting” (1880). [114] George C. Tilyou, creator of Coney Island’s modern amusement park, learned Barnum’s lessons well. “We Americans want to be either thrilled or amused and we are ready to pay for either sensation,” Tilyou explained.[151] ”Laughter,” he boasted, “made me a million dollars.” [153] Not everyone was laughing. When Maxim Gorky visited Coney Island in 1906 it didn’t seem fun at all. “What a sad people you must be,” Gorky said. [155]

Let’s blame it on William Bradford.

"A great shock, and a great, great joy": James Gleick's CHAOS: Making a New Science.

Review: Chaos: Making a New Science by James Gleick. (Penguin: 1987/2012) 384 pp.  

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The humble, fractal cauliflower. Its fractal structure is evident in the way that its structural patterns repeat over and over again on ever-smaller scales. 

 

There are two ways of looking at it. From one perspective, the fact that I was stunned and shocked by a 26 year-old book subtitled "Making a New Science" was depressing; I mean, why hadn't I learned this stuff 26 years ago? From the other, the fact that James Gleick's magnificent book Chaos: Making a New Science (Penguin: 1987, 384 pp.) still had the power to blow my mind merely reinforces the book's central thesis: Chaos theory can be overwhelmingly obvious and invisible at the same time. Like gravity, it was always a central fact that governed everything we did, it just took a genius like Isaac Newton to "discover" it.  I'm grateful and humbled to finally have discovered this book.

I was already a huge fan of his most recent book, The Information: A History, a Theory, a Flood (Vintage: 2012, 544 pp.) so I was ready to like Chaos. But he does something different in each book. In The Information Gleick starts with something we're all familiar with, the World Wide Web, and lifts the screen to reveal how it got there. Along the way it becomes the story of the alphabet, the "talking" drums of Africa, Morse Code and a million other forms of communication. It's a masterpiece.

In Chaos Gleick goes in the opposite direction, taking seemingly unpredictable phenomena -- global weather, long-term stock market pricing, the timing intervals of a dripping faucet -- and revealing that "within the most disorderly realms of data lived an unexpected order." Chaos theory, which applies to dynamical systems, is a bizarre mix of predictability (when a dynamical process involving three or more initial variables is set in motion, we can predict that certain patterns will eventually emerge) and unpredictability (although patterns will emerge, we cannot precisely predict what outcome will happen at what time, if ever).

The rules of chaos (that's not a contradictory statement) result in similarly confounding realities. Gleick quotes mathematician Arthur Lorenz, one of the founders of chaos theory and the person who coined the term "the butterfly effect," saying: "We might have trouble forecasting the temperature of [this cup of] coffee one minute in advance, but we should have little difficulty in forecasting it an hour ahead." That is, we know the coffee's temperature will eventually equilibriate with the room and air temperature. But between now and then, the forces of convection, cooling and friction are so complicated and chaotic, it's impossible to predict exactly what will happen in the first minute.

It would take thousands of words to adequately describe all the features of chaos that Gleick manages to illuminate in the book. But his most profound contribution is in helping the reader understand something intuitive: "Our feeling for beauty is inspired by the harmonious arrangement of order and disorder as it occurs in natural objects--in clouds, trees, mountain ranges, or snow crystals. The shapes of all these are dynamical processes jelled into physical forms," explains physicist Gert Eilenberger, and those dynamical processes are chaotic, with all the beautiful fractal patterns associated with them. The structure of snowflakes, of seashells, of the Milky Way, of whirlpools and fingerprints, all these owe their beauty and form to chaos theory.

Very few writers can translate difficult science into readable and fascinating prose like Gleick. As far as I can tell, both the scientists he interviews and the reading public feel he is on "their" side and I think they're both right. Like the mathematical foundation of the theory itself, Chaos is a beautiful and profound book that helped me reconsider physics, philosophy and the universe itself.

Gleick captures both the concrete details of this science along with the revelatory and emotional resonance the discovery of chaos theory has had on the people who work in the field. "It's an experience like no other I can describe," said physicist Leo Kadanoff, "the best thing that can happen to a scientist, realizing that something that's happened in his or her own mind exactly corresponds to something that happens in nature. It's startling every time it occurs... A great shock, and a great, great joy." Which was exactly my experience of reading this book.

The extravagant theatrics of ravaged innocence: Billy Lynn's Long Halftime Walk by Ben Fountain.

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Review: Billy Lynn's Long Halftime Walk by Ben Fountain. (HarperCollins: 2012) 320 pp.

Tom Wolfe haunts Billy Lynn's Long Halftime Walk, the 2012 novel by Ben Fountain. The first three sentences plunge the reader into a you-are-there sensory overload POV that Wolfe brought to nonfiction 50 years ago:

The men of Bravo are not cold. It's a chilly and windwhipped Thanksgiving Day with sleet and freezing rain forecast for late afternoon, but Bravo is nicely blazed on Jack and Cokes thanks to the epic crawl of game-day traffic and the limo's minibar. Five drinks in forty minutes is probably pushing it, but Billy needs some refreshment after the hotel lobby, where overcaffeinated tag teams of grateful citizens trampolined right down the middle of his hangover.

This is the story of Bravo Company during one epically weird day on their "victory" tour of the USA in the midst of the Iraq war of the early 2000s. Set in Texas Stadium before, during and after a Dallas Cowboys game, the soldiers are exposed to America at its most extreme, a nonstop chorus of hysterically sincere gratitude Fountain evokes in floating word clouds: nina leven... terrRist... evil... values... God... currj. Wolfian, n'est-ce pas? Lupine, even.

Wolfe's kaleidoscopic, oversaturated literary technique begat pieces of reportage like "There Goes (Varoom! Varoom!) That Kandy-Kolored-Tangerine-Flake-Streamline Baby" (1964) and "Radical Chic and Mau-Mauing the Flak-Catchers" (1970). He's probably equally famous at this point, FIFTY YEARS LATER (!!!), for his 1989 "literary manifesto for the new social novel" in his Harper's essay, "Stalking the Billion-Footed Beast," in which he warned that the American novel would become "irrelevant" if it failed to engage with contemporary life the way journalism did. "America today, in a headlong rush of her own," Wolfe wrote, "may or may not truly need a literature worthy of her vastness. But American novelists, without any doubt, truly need, in this neurasthenic hour, the spirit to go along for that wild ride."

Wolfe's own subsequent novels failed to prove his point, though. A Man in Full (1998), I Am Charlotte Simmons (2004)  and Back to Blood (2012) were mostly received as overblown and out of touch. So I hope he's reading Ben Fountain. Because Billy Lynn's Long Halftime Walk realizes all Wolfe's dreams. This is a fiction steeped in realism that manages to illuminates the weirdness and beauty of contemporary American life. Here's one of Billy Lynn's many philosophical musings, squeezed in between endless handshakes, backslaps and selfies with the fans:

Without ever exactly putting his mind to it, he's come to believe that loss is the standard trajectory... you might keep the project stoked for a while but eventually, ultimately, it's going down. This is a truth so brutally self-evident that he can't fathom why it's not more widely perceived, hence his contempt for the usual shock and public outrage when a particular situation goes to hell. The war is fucked? Well, duh. Nine-eleven? Slow train coming. They hate our freedoms? Yo, they hate our actual guts! Billy suspects his fellow Americans secretly know better, but something in the land is stuck on teenage drama, on extravagant theatrics of ravaged innocence and soothing mud wallows of self-justifying pity. 

Billy Lynn is a beautiful, funny and dark portrayal of America in the post-9/11 era. You'll laugh, you'll cry, you'll throw your red Solo cup at the TV. The social novel is alive, Mr. Wolfe. It's weaving its drunken way through the inner corridors of Texas Stadium, smoking weed with the catering staff and falling in love with Dallas Cowboy Cheerleaders. Like we all do.

Johnny Cash: Love, God, Murder.

Johnny Cash: The Life by Robert Hilburn

(Little, Brown: 2013) 679 pages

 

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(Photo credit: Jim Marshall, Folsom Prison concert, California, 1969)

This review was originally published on October 27, 2013 in the Sunday Books section of the Boston Globe.

The three words chosen for the title of Johnny Cash’s 2000 compilation — “Love, God, Murder’’ — told you everything you needed to know about the contradictions that defined the man and his obsessions; he was just as comfortable whipping the felons of Folsom Prison into a frenzy with his famous lyric, “I shot a man in Reno just to watch him die” as he was testifying to the power of Jesus at prayer rallies with his good friend the Rev. Billy Graham.

Cash called his first autobiography “Man in Black”; his final book was “Man in White,” a novel about the Apostle Paul. His struggles with drug addiction and his stormy relationship with his second wife, June Carter Cash, are well known. Now Robert Hilburn, the longtime pop music critic and editor for the Los Angeles Times, delivers his new biography, “Johnny Cash: The Life.” Is there anything left to reveal?

According to Hilburn, despite two memoirs, an Oscar-winning biopic, and numerous books by family and friends, only “twenty percent” of Cash’s story has been told before now. The singer told Hilburn that “he wanted people to know his entire story — especially the dark, guilt-ridden, hopeless moments — because he believed in redemption and he wanted others to realize that they too could be redeemed.” One wonders whether Cash understood that his fans loved him because of his faults, not in spite of them.

Hilburn’s biography, based on interviews with Cash and those close to him, unearths new details about Cash’s personal problems, from his guilt at not being a better father to decades of bad behavior and occasionally bad music. But Cash’s conviction that no one knew the depths of his wickedness merely underscores the depth of his Southern Baptist spirituality and his lifelong view of himself as a sinner: Nothing in “Johnny Cash: The Life” will shock anyone who knows even the outline of the man’s career or those already inclined to love the singer or his songs. And the book’s best sections are those concerned with the music.

Cash spent the first three years of the 1950s in the Air Force dreaming of music stardom. As soon as he got discharged he headed for Memphis’s Sun Records, which had released Elvis Presley’s first recordings a few months earlier. Cash and his hastily convened band, the Tennessee Two (Luther Perkins and Marshall Grant on guitar and bass), had more ambition than musical skill, but they convinced producer Sam Phillips to give them a shot. The primitive, halting sound they produced, a stuttering boom-chicka-boom, was reminiscent of a freight train and just as powerful. “It wasn’t that they thought they had discovered something; it was just about the only way they could play,” Hilburn writes. Yet that spare, propulsive rhythm combined with Cash’s authoritative bass-baritone voice and fire-and-brimstone lyrics created a signature, timeless sound.

Cash’s songwriting and charisma carried him through the next several decades of performance and recording, and Hilburn charts it all, from the county fairs and prison concerts to Cash’s beloved gospel albums, recordings with the Highwaymen, and all the TV shows and schmaltzy Christmas specials in between. Like the touring schedule, Cash’s cycles of drug abuse, health scares, repentance, and relapse were unending; they exhausted those who knew him. After several hundred pages of day-to-day details they become something of a blur. Happily, Cash’s career and the pace of the book pick up again in the last decade of his life.

In 1993 Cash believed “his recording career was over.” Then hip-hop and rock producer Rick Rubin called. Cash was skeptical, but the Rubin recordings were a watershed, six albums of intense, painfully stark, and often solo performances “that sounded like it was coming from someplace deep inside of him,” Rubin said. “It was epic, and that’s what Johnny was to me — epic.”

After two decades of subpar records and halfhearted touring, Rubin’s American Recordings label brought Cash acclaim and his first hits in decades. They also reminded a world of music lovers that he was still relevant. “Rick made me think I might have a legacy after all,” Cash said, “I vowed not to let it slip away again.” They continued recording until just a few weeks before Cash died of diabetes-related complications in 2003.

Cash’s legacy as an icon of American duality had been restored: an outlaw with an angel on his shoulder; a holy prophet with a back-up plan. U2’s Bono spoke of his admiration for Cash and his music. “I think he was a very godly man, but you had the sense that he spent his time in the desert. And that just made you like him more.” He remembers sitting down to dinner at Cash’s home. “Johnny said the most beautiful, most poetic grace you’ve ever heard,” Bono says. “Then he leaned over to me with this devilish look in his eye and said, ‘But I sure miss the drugs.’ ”