I received this email yesterday from my alma mater:
"Father Borden was taken to Santa Paula Hospital this morning after suffering a stroke at his residence. He is presently in the emergency room and will soon be moved to ICU. The doctor described the stroke as “serious”. Presently, Father is unable to speak and swallow. The next 24 hours are crucial. His doctor will keep us informed. Please keep Father in your prayers."
Got another email today; he seems to be doing much better. Father Borden is a great priest. I wrote about him a little bit in Book Two:
F. Scott Fitzgerald has always been a favorite author of mine. I did my duty and waded through The Great Gatsby in high school like everybody else, but then I happened upon it in a friend’s room at college. Reading it again, without the dead weight of obligation hanging on every sentence, I was seduced by Fitzgerald’s poetic sense of language, and delighted by his psychological acuity. I’m sure someone else has compared him to an extremely sensitive instrument, the needle twitching as it registers the most minute and distinct interior tremors. Whether or not he was great, I found him fascinating.
My friend Joseph, who is more literary than I, has seized upon this fondness, peppering me with Fitzgerald biographies, collected letters, and the like, hoping to encourage some artistic appetite in his friend the scribbler. In Andrew Turnbull’s biography of the man, I found this, written in a diary by a friend of the Fitzgeralds’, Alexander McKaig: “Fitz made another true remark about himself – draw brilliant picture of [critic George Jean Nathan] sitting in chair but how [Nathan] thinks he cannot depict – cannot depict how any one thinks except himself & possibly Zelda. Find that after he has written about a character for a while it becomes just himself again.”
That’s certainly what happened to me in “
Meat.” Father Dunleavy is based upon Father Borden, a retired priest who came to Thomas Aquinas College during my Junior year. Father had spent time among lobster fishermen, and one night, he had a few of us down to the priests’ residence for a lobster dinner. I was amazed at his knifework as he started in on the shells – the combination of force and dexterity that brought forth great chunks of precious, creamy flesh. No nutcrackers and tiny forks here, no digging in crevices for strands of stubborn shellfish. Everything sweet and easy. It was the first time I had ever seen a priest at work in a kitchen.
But Father Borden was no glutton – not as far as I knew, anyway. He certainly didn’t share in Father Dunleavy’s bulk. As far as I knew, Father Borden was a great and holy priest. It was true that his general tone was not as intellectual as that of his predecessors – where Father Steckler might devote several months’ worth of sermons at daily Mass to an examination of the sacraments, Father Borden might quote Bill Cosby or Groucho Marx as he exhorted us toward kindness and charity. And where Father Vincent lingered over the Mass, devoting care to each motion and phrase, Father Borden’s 7:30 a.m. Sunday Mass was known as the Borden Express – if you could haul your body out of bed in time, you could be out in as little as 40 minutes. But it took only a few years for the story to start circulating that Father had won more converts at TAC than any other priest. He liked sports, and because students were not allowed to have televisions, he often played host to large groups of us, generously doling out beers to his parched guests. (Loyola Hall was perhaps the only spot on campus where a student could drink, outside of special occasions.) People liked him; they saw something in him.
No, Father Dunleavy’s spiritual life is mine, together with the vice that gave such volume to his physical being. (Correction: it seems I can’t even do what Fitzgerald does. My “picture of George Jean Nathan sitting in a chair” isn’t brilliant – it isn’t even accurate. It’s distorted, swollen beyond recognition by what I’ve stuffed into it.) I may not share his bloated shape, but that’s my anxiety at the deadening effect of sensual indulgence, my guilt over the twin gluttonies of excess and delicacy, my fear of engaging the world to the point where, instead of being transformed, the world transforms me.