Happy Accidents. Jane Lynch
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We later discovered this priest was actually a pervert (the extent of his misdeeds have only recently come to light when he was removed from public ministry in 2005). He’d targeted Chris at one point: when he was in seventh grade, the guy had tried to show him his underwear drawer at the rectory, asking him, “Have you ever seen a grown man naked?” (hopefully unintentional in his quoting of Peter Graves’s line in Airplane). Before he could get any further, Chris said, “If you touch me, my father will kill you,” whereupon young Chris was sent on his way. Christopher John Patrick would not be intimidated by anyone.
My whole family adored Chris, but no one more than my sister, Julie, who loved it when he made fun of her dumb-blonde ways. She begged him to mock her. He had heard the tape of her attempting to sing “Edelweiss” and was merciless in his imitation of it. She loved it. “Do it again!” she’d plead. She also loved that he colored his hair and cared about how he looked, and he played it up for her. A few years back, my dad was battling that awful lung cancer and we were all so devastated. But Chris called and said, “Tell Julie I had a full face-lift.” She belly laughed hard for the first time in a long time. He knew just what to say. (He lied. He’d actually only had a partial one ….)
One Ash Wednesday, Chris convinced me to cut choir, my favorite class, and go with him to the Chicken Unlimited across the street. Over Cokes and fries, we used cigarette ashes to make crosses on each other’s forehead, intoning, “You are dust, and to dust you shall return.” When we got back to school, we told the campus cop we had been at Mass. Nothing was sacred.
On the flip side of this disregard for our family faith, Chris had a love, a reverence even, for the pageantry of the Catholic Church. On Friday nights, when most of Thornridge High was drinking itself silly at a kegger, Chris and I, plus our pal John Carr, would do what we called a “church tour.” John was another sly and witty fellow, soon to come out of the closet. His other big secret was that he wanted to be a priest.
John Carr hearing confession in Man of La Mancha.
Back in the late seventies, some churches kept their doors unlocked because they were supposed to be a place of refuge, a place you should be able to enter at any time to escape whatever was chasing you. We knew which ones on the city’s south side were kept open, and we high school snots snuck in. We were usually drunk and doing poppers and giggling our heads off, but there would always come a moment when it got absolutely serious. We would perform the Mass, and we’d mean it. If Chris could unlock the organ, he’d play the entrance hymn, and if not, he’d hum it solemnly. My role was to lead the imaginary congregation in song. John would play the priest, making his ceremonial walk up the aisle toward the altar, kissing the good book and performing all the other ritualistic gestures, and begin the Mass.
If we could get into the confessional booths, we would take turns playing priest to the others’ confessor. We would mostly goof around pretending to be people from our own parish. We had them coming clean on ridiculous sins like having VD or something. Chris told me that John would actually confess to him. Of course, Chris wasn’t really a priest, so he told me everything. John told him that he was afraid he was gay; that he missed his dad, who’d died when he was a kid; that he feared he wouldn’t get into the seminary because his grades were so bad. John Carr was a bright light—funny and smart—but not a fan of school or studying. He died of AIDS in 1996.
On some level, I knew Chris was gay. It became harder to ignore once he started driving into Chicago for the weekends, not so secretly going to gay bars and hooking up with guys there—but I still somehow managed to deny it to myself. He lived like there was no tomorrow—smoking, drinking, doing drugs; generally doing whatever he wanted. Chris couldn’t help but be himself. He has always been constitutionally incapable of anything else.
And he never felt shame about anything he did. Chris’s attitude was The world just needs to catch up with me. In this way, he and I were very different. I really wanted to fit in, wanted to want to have a boyfriend, wanted to want to have kids. I wanted to want what every other girl in the world seemed to want. I did not want to admit, to myself or anyone else, that I did not.
I tried to act like the straight kids, but I couldn’t even fake it. I went out on a couple of dates with guys, but it was a struggle the whole time. I’d be deep in my own head, thinking, This should be nice. I should want to kiss him right now. I knew how I was supposed to act, how I was supposed to feel, but no matter how hard I tried, I couldn’t be that person.
Chris was a lifeline, because with him I could be myself. It was also hard to be worried with so much laughing and goofing around, and his self-acceptance was contagious. As awkward as I felt around others, I felt like myself with Chris.
Choir was where we really flourished. We both loved to sing, so we never cut this class (except that one Ash Wednesday at the Chicken Unlimited). We’d even sing on the way there. It helped that we had to go through a breezeway with awesome acoustics that ramped up our harmonies. Then we’d spend the first fifteen minutes of the choir hour in the girls’ bathroom, smoking with any boy or girl who wanted to share a hot-boxed Marlboro.
But the real joy was singing in that choir, with so many different voices coming together. District-wide integration meant that black kids were bused into our white neighborhood for high school. This had caused riots in our school, and cops patrolled the hallways to keep the peace. The choral room in A Building was one of the only places at Thornridge High School where integration worked effortlessly. Black and white kids, football players, cheerleaders, nerds, and wood shop guys all lifted their voices in song together in this room. It was an idyllic setting, not unlike the version in Glee. Our differences seemed to disappear as our voices were raised in song, and the harmony lifted us beyond ourselves. For Chris and me, it was a refuge.
The other times I felt at ease were when I drank. My drinking self was good and had nothing to fear or be ashamed of. If I was drinking and with Chris, the good fired on all cylinders. Dolton was right next door to a suburb called Hegwisch, a blue-collar area with a famous record store and more bars per capita than any other burg outside Chicago. Al Capone had loved the prairies and heavily wooded landscape of this place and was said to have hidden out there a lot. For us, the winding roads of Hegwisch led to cash-strapped taverns more than happy to sell drinks to teenagers doing poppers. I used to love going with Chris to this one real dive bar called Jeanette’s, a place filled with toothless old men. One obese and gummy guy called “Uncle Frank” would sit immobile in a dark corner and yell at us. “I love you kids!” he’d slur. At those moments, I loved him right back.
Chris introduced me to a few new things, too. The first time I smoked pot was with him, during sophomore year. He failed to tell me that he’d laced it with angel dust, so I began to hallucinate at Pizza Hut and was so out of my gourd that I had to spend the night in his garage.
Pot scared the hell out of me, with or without angel dust. I panicked when I smelled it. If I went to a party where someone was smoking it, I expected the cops to swarm the place, and judgment and paranoia must have been written all over my face. I began to be known as “the Narc,” and I started to notice that I wouldn’t be invited to certain parties. It hurt my feelings, even though I continued to feel that pot smoking was evil. I was, however, very happy to get loaded on booze.
IF YOU LOOK BACK THROUGH MY HIGH SCHOOL scrapbook, you’d think I was one of the popular kids. I was involved in a million activities—speech team, girls’ choir, basketball, tennis, theater guild. And despite earning the “quitter” label after The Ugly Duckling, I even managed to get small roles in a couple of plays my sophomore year, playing a male police officer (go figure) in Arsenic and Old Lace and a tomboy (ditto) in The Brick and the Rose.
But it wasn’t until my senior year that something transformative finally happened. That was the year my theater arts class put on Godspell.
Somewhere in the back of my head I was aware that Godspell was based on a Bible gospel—we sang “Day by Day” at guitar mass at St. Jude’s—but I didn’t care. I just wanted to put on a show! I loved the music, and we wouldn’t have to try out; if you were in the class, you were in the