#impossible vacation

A little while ago I wrote about Swimming to Cambodia, a copy of which I discovered in a charity shop. I read it and I liked it a lot. And then for a while I forgot about Spalding Gray until one day my wife pointed him out to me in the film Beaches. I think he played a doctor of some kind — I wasn’t really paying attention — but it was enough to get me thinking about his stuff again.

I started trawling YouTube for what I could find. Most of his stuff is out of print, but there at least you can find a few of the monologues — Terrors of Pleasure, Gray’s Anatomy and It’s a Slippery Slope are all delightful. The most interesting primer is Steven Soderbergh’s documentary And Everything is Going Fine, which is assembled entirely from excerpts from Gray’s monologues and interviews. It’s a deft, skilful, and beautifully elegiac piece of work which feels more like one great final performance than it does a conventional biography. Appropriate, perhaps, given that so much of what Gray did was rendering up his life through storytelling. 

I also bought a couple of books: Impossible Vacation, which is the only novel Gray published, and the posthumous collection of extracts from his journals. Apparently he laboured for years over the text of Impossible Vacation, with the original draft running to over a thousand pages — the monologue Monster in a Box was actually performed with the manuscript sitting in a scruffy cardboard box at his elbow. The final published form of Impossible Vacation is a relatively svelte few hundred pages in paperback, which is enough to make anyone wonder about the scale of the original. 

I was expecting Impossible Vacation to be a bit more novel-like. I was expecting a modern American comic story along the lines of A Confederacy of Dunces, perhaps. But in fact, the novel is a lightly fictionalised version of Gray’s own life. And that’s about as ‘light’ as it gets: it’s funny, but it’s also just as self-involved as any of his monologues. Gray’s protagonist is renamed Brewster North, but not much detective work is required to map North to the author. Much of the novel is mirrored elsewhere in Gray’s stories from the stage: the trip to India, his brief stint as an actor in pornographic movies, the experimental theatre scene in New York; and above all the memory of his mother, and the lasting effects of her suicide. 

If you read (and watch) far enough into Gray’s work it feels a little like wandering into a hall of mirrors: we see the same selves and preoccupations reflected over and over again, sometimes in distorted or disturbing ways. Glimpsed in passing the effect is comic, but after a while the effect becomes haunting. There is a moment in Gray’s Anatomy where he describes watching a student in a storytelling workshop, and staring into her eyes, and watching her face somehow disintegrate until the flesh falls from her skull and her face becomes a sort of ball of white light. Sometimes that’s what reading his stories feels like: the contortions of history and storytelling are subject to a relentless focus that becomes so intense that the reader is lulled into a sort of hypnotic compliance. 

This feeling of falling into a sort of dissociative trance is not uncommon in his work; it seems emblematic of a sort of transcendental feeling that Gray was perpetually striving for. Hence the dream of the ‘perfect moment’ in Swimming to Cambodia, hence escapism via skiing in It’s a Slippery Slope. Set against that dream of escape is everything the real world has to offer: the anguish of the domestic; the problems caused by anxiety, depression, drinking; the sad, strange, tortuous complications of his love life. In these respects, it hasn’t aged well – I can imagine audiences today having a little less patience for Gray’s occasional sways into mysticism. And his attitude towards women might at times be generously described as ‘problematic’. In the 90s perhaps it was easier to dismiss his casual reports of philandering as the trappings of the tortured artist; today it only seems sad, and a little wearying.

So why is it that I find his stuff so appealing? I’m not in the habit of reading biography. I like podcasts, but while Gray seems like a model for all kinds of modern tendencies in vlogging, I’m not aware of anyone who is doing exactly what he did in the same way he did it. Current trends towards the confessional in stand-up comedy don’t quite fit, either. The form of the thing is so important. He was as much a performer as he was a storyteller. The closest equivalent that I know of is David Sedaris, and I find his stuff intolerable. There are a few reasons for this, but to me Sedaris always seems convinced that the problem is with other people. He is stuck in a mode of perpetual disdain. But with Gray, we are never really left in any doubt that this author is in fact the only author of his own troubles. And yet he also knows how to have fun, sometimes; and I find that endearing because it seems to me more honest, and less spiteful.

One point of comparison is Proust. I don’t mean to say Gray’s prose is exactly Proustian, but they have an endearing amount in common. There’s a perpetual anxiety about death and entropy that often manifests itself as hypochondria. There’s the obsession with the mother, the retiring nature, the preoccupation with irony. The pursuit of the perfect moment through which emotion can become recollected in tranquility. And though both took to entirely different forms of media, it seems like both were attempting something a level of formal innovation which, while initially seeming familiar, approached a new way of committing memory and experience into art.   

Impossible Vacation is often intense but it’s not always laugh-out-loud funny. More often it seems possessed by a restless, struggling, enquiring energy. Sometimes the writing is inspired, but it lacks form – the feeling of form that was so dominant in the monologues themselves. As it stands, you wouldn’t consider half of the things that go on in the book as the plot for a novel because (like life) they don’t entirely cohere. And the story ends before it ever really begins, though it does at least contrive a neat circular ending that recalls (lightly) Finnegans Wake. 

Still, it’s a shame that the novel is out of print because, much like his monologues, it’s certainly worthwhile; the published journals of Spalding Gray are an entirely different and more difficult thing. The journals are kind of a mess. An enormous amount of biographical heavy lifting is provided by the notes and annotations by the editor, Nell Casey, and without this context any reader would struggle to discern what was going on. But the notes are pretty comprehensive, and in the end this seems as close to a biography as we are ever likely to get. It does, however, take a long time to get going. The journal entries all through the 70s and early 80s are sketchy, and not especially interesting. A lot of the time they’re purely expressive, and we have to be told what it is exactly that they are referring to. It’s only once the monologues get going that his private style becomes elaborate and involved enough to be worth reading.  

The picture we get of Gray is less of a single-minded auteur and more of a man who sort of wandered-or-fell into fame as a monologuist. After the fame and exposure of Swimming to Cambodia there is a sense of freewheeling — of doing what he’s doing because it’s what he does, and it’s rarely entirely under his own steam. He is perpetually worried, questioning, uncomfortable. Eventually he would become concerned with the idea that he had used himself up, and that he had no private life worth living outside the performances. But some of this was ameliorated by the late in life arrival of children and a more settled family situation. For a while, he thought himself happier than he had ever been.

In 2001, Gray was involved in a terrible car crash while on holiday in Ireland. His injuries included a broken hip and a fractured skull that likely caused brain damage. The accident changed his life, and afterwards he was never the same. The journal entries from after this point are harrowing — there is no other word for it. I knew of his eventual suicide, but I had no idea until of the extent to which depression utterly consumed his life. I didn’t know about the frequent hospitalisations, the shock treatment, and the pain his failed suicide attempts caused on others. There aren’t many extracts from this time shown, but what we are given was enough at times to make me wonder if any of it should have been published at all. But perhaps there is a purpose in trying to give a picture of the anguish he was in. 

All through his life Gray had been preoccupied with the idea of his mother taking her own life. The story he told about this was that this was precipitated by his parents moving house, to a new place away from the ocean, which his mother could never feel at home in. After the accident he and his family also moved house, and he came to regret this decision intensely. The editor Nell Casey calls this ‘his obsession, a mythic rant’. Gray cannot seem to accept the idea that a house might be, as a psychologist puts it, ‘a pile of sticks’. Here is how Gray considers trying to explain it to his sons: