It wouldn’t be entirely inappropriate to title this
interview, “The Talented Mr. Barnes”. With a career spanning thirty years of
entertainment, art, and medicine, Mr. Barnes’s life truly defines the idea of
the complete man. I’m honored to know him as a colleague, and dare I say, a
friend.
Q: Mr. Barnes, welcome and thank you for this, our second
interview.
GB: It is certainly good to see you again Quatro… Quarto… however
you’ve styled yourself. And may I say, you’ve outdone yourself with this room--
your quaint reel to reel recorder and SM57’s. It’s perfect!
Barnes has correctly
observed that this room is perfect. It’s a small meeting room on the mezzanine
of a medieval castle themed hotel. The hotel, however, is never used for
meetings of this kind, and the rental of this room, with its mosaic glass
windows and Anglican stilt, has been occasioned only five times since the
commencement of its business, and only by me. – Q
Q: I have to share this with you. Your first interview drew
dozens of visitors to my website.
GB: Dozens, you said?
Q: Yes, 26, to be exact-- two dozen, dozens, two baker’s
dozen?
GB: That’s a little overwhelming. Of course I’m flattered by
the attention, 26, you said.
Barnes turns a
contemplative eye toward a glint of light in a glass mosaic that crowns an
arched window in the far corner of the room and smiles almost imperceptibly.
Q: I think that the Creative Medical Advisory Office at Our
Lady of Rejected Saints is a fascinating project, but you’re currently on
sabbatical from OLoRS. What prompted the change?
GB: There comes a point in every endeavor when I simply run
out of ideas to keep the thing, whatever it is, moving. The key idea is
movement. It’s a cornerstone of the perception of life—movement that is. When a
thing can’t be quickened again, it’s dead. And dead things aren’t much fun.
Q: Do you consider resurrection?
GB: No, No, No… but I maintain the plasticity of death.
Q: If I told you that people say, “I don’t know how to act
when I’m around Gedy Barnes”, what would your reaction be?
GB: I’m very glad you asked, because you’ve raised a point
I’ve tried to demonstrate many times, and that’s this; if you presume to know
how to act around a person, you’re doing just that—acting. I cannot abide an
act. But I find people are true to themselves in those moments, when they don’t
know how to act—caught off guard, as it were.
Q: I’d like to put a finer point on that. Do you make a
distinction between?
Before I can finish my
sentence, Barnes stands and commences a fierce attack on the stone hearth in
the North corner of the room using a spare roll of audio tape that I’ve left
adjacent to my recorder. He stops and returns to the table as if nothing
unusual has occurred. I’m initially stunned, but a wave of understanding passes
over me.
GB: How did you feel just then?
Q: Speechless, really. I didn’t know what to say or do. We
were taking as we had, then you were, the next moment, attacking the fireplace.
GB: Precisely, Mr. Barto. All your affectations, the
sycophantic presumptions of my dispositions, were obliterated in that very
moment—thus fell the façade. But as the spinning slowed, the pieces were drawn
back by the sinewy threads of expectation; and as the last chink was closed,
you remembered how to act around Gedy Barnes.
Q: I do remember how to act around Gedy Barnes.
GB: [laughs] If you’d been lucky enough to slip into a coma
during a routine medical procedure at OLoRS, you’d be remembering how to act
around Gedy Barnes with a full set of porcelain veneers!
Q: I’m glad you brought us back to the CMAO. I had a few
questions from readers about the project, which you mentioned is now closed, on
the ethics of performing medical procedures in situations where patient consent
would be impossible to obtain. The cosmetic dental work on dying or unconscious
patients, Smiles for the Terminal Miles, it was called, raised a few eyebrows.
GB: That doesn’t surprise me in the slightest. First, let me
address the patient consent question in very simple terms; insurance pays, patient
stays. Second, all these definitions, dying, dead, comatose, etcetera, are
plastic to a point. I can remember a few cases where we were able to work
double knee replacements into an embalming—saved a ton on surgical aftercare.
Take a look at the alternative, if we’d simply relied on the
traditional definition of death, that patient would never have had the
opportunity to walk without pain, the surgeon would missed out on a lucrative
operation, surgical suite rental fees for the hospital—gone, and our staff
mortician, Barry, he just never gets to talk to anybody during the day.
Q: Wouldn’t the patient be dead if he were being embalmed?
GB: Of course, I should clarify that point. We were pioneers
in the field of pre-embalming. That’s what I was referring to—of course we
couldn’t perform surgery on a completely dead patient, or embalm a live one for
that matter. Remember though, death is a continuum.
Q: Some people might say that CMAO looked for ethical
loopholes to allow unnecessary medical procedures, on the dead or dying, for
the purpose of bilking patients and insurers.
GB: I have heard that criticism, but I think that’s the narrow
view. I’ve heard some bizarre accusations, believe me! The toe nail incident
comes to mind. I can assure you it was patently false. Some things were just
misunderstood. Our cardiopulmonary sharing program that matched cardiac
intensive care patients with a “lung buddy” from the coma ward, it was a huge
success.
Q: It seems that you’re still piqued by the perceived
ingratitude.
Barnes pauses and
removes his glasses. He rubs his temples gently with the tips of his ring
fingers.
GB: They’re your cleanest fingers, generally speaking; the
ring fingers, I mean. They’re protected by the little finger medially,
laterally by the middle ones, and insulated from vulgarity by the natural
proclivity to prefer the index finger and thumb.
Q: I don’t even have the words.
GB: Well, what’s to say? A style for digital interaction?
The manipulative fashion?
Q: Witty as ever! Should we break today? These interviews
always run the risk of turning into conversations, meandering as they do.
Barnes chooses not
respond, but stands and walks from the room. As he reaches the door, with its
black iron hardware and thick coats of lacquer, he mutters a single word. It
was almost inaudible and I believe it was intended only for my ears. As it was
not intended to be transcribed, it shall remain unknown but to Gedy and me. I suspect they will not be the final words between us.