Carrie Fisher - Wishful Drinking

My mother’s closet wasn’t off limits, but it was very much hers and, therefore, my younger brother, Todd, and I valued it. It was prized because of how highly we prized our mother. She was often away, and when we missed her, we could go into her closet and do stuff like put our faces into a bunch of clothes and inhale the powdery, flowery scent of her. We would put on shows together in the closet, playing some kind of airplane game and restaurant game. And then there was this hat we for some reason called the “bum-bum” hat. It was this big straw hat with a brim that continued over your eyes with this green mesh you could see out of. We loved nothing more than to put on the bum-bum hat and look through the green mesh at our suddenly transformed surroundings.

My mother was magnificent when she was decked out in all her glory. When she was ablaze with all manner of jewelry and gems, shimmering diamond earrings and her neck encircled with bright stones that caught the light, a gown with matching shoes and stockings, makeup and her tall wig, carefully coiffed by her hairdresser Sidney Guileroff or “Uncle Sidney” as we were encouraged to call him. Sidney’s name could be found in the credits of some of the more classic MGM films of all time. My mother would emerge from her dressing room a vision, so glamorous and so not of this world.

When my mother was at home on weekends, we stayed with her as much as possible, which frequently meant we were very involved in watching our mother. Right next to her closet there was this huge bathroom with magenta marble and mirrors everywhere. I remember the smells of her perfume—L’air du Temps—and of creams, like Ponds or Albolene. On the bathtub, there were always two or three monogrammed facecloths laid out—with her initials—DRK. Debbie Reynolds Karl. And then there was The Shrine of the Wigs, which was at the end of one countertop, along with what seemed to me like hundreds and hundreds of lipsticks and eyebrow pencils and false eyelashes. My mother was unbelievably meticulous at all of this. She’d twirl her hair up into pincurls that she’d use to pull her face tighter, then she’d put on her makeup base with a sponge. The base went low when the dress was low cut, which it usually was. Then she applied eye makeup and false lashes, so she didn’t need mascara, but there was lots of eyeliner. Next came lipstick and rouge and powder—great puffs of glittering clouds of powder, followed by hair, which was a big deal, getting the wig on right. Then came the earrings, then she’d step into her clothes, and then came her stockings and her tiny little size five shoes. When she was completely finished, her Debbie Reynolds movie star accent got stronger, her posture got better, and she looked incredibly beautiful. When our mother dressed, the man behind the curtain became the great and powerful Oz.

Undressing was also a process my brother and I observed. First we’d watch my mother as she removed her makeup with a wash cloth, then she’d take a bubble bath. As Todd and I looked on, Debbie Reynolds would slowly return to being our mother. The coach was once more a pumpkin, the footmen went back to being mice, Pinocchio became a real girl. We loved to be with her when she resumed her role as our mother. That this amazing being who looked like she looked and had these remarkable abilities belonged to us somehow. She was so beautiful, and of course I dreamed of one day looking like her. I fantasized that perhaps if Uncle Sidney would put my mother’s tall, golden wig on my head and give me her perfectly coiffed hairstyle, then I would transform into the confident and shining beauty I would surely be. Soon I would be beautiful too. But to my horror, no such transformation occurred. It was then that I knew with the profound certainty of a ten year old that I would not be, and was in no way now, the beauty that my mother was. I was a clumsy-looking and intensely awkward, insecure girl. I decided then that I’d better develop something else—if I wasn’t going to be pretty, maybe I could be funny or smart—someone past caring. So far past caring that you couldn’t even see it with a telescope.

Sometimes my mother would take me shopping, to Saks Fifth Avenue, or a store called Pixie Town. But when I was a little girl (and even sometimes now), it was complicated to go out in public with my mother because she was very famous. She belonged to the world. She not only looked like Debbie Reynolds but to make matters worse she wore this giant big diamond ring. It was like being in a parade. In a way, my mother was an event. “Oh my god!” people would say to her. “I loved you in Molly Brown !” or “I saw you in Las Vegas!” So it was not like having private time with Mom. And I really didn’t like sharing her. It seemed almost unsanitary.

When my mother was at home, she did a lot of sleeping, because she worked so hard and had such long hours, so Todd and I wanted as much of her company as we could get. So I slept on the rug on the floor next to her bed, and my brother slept on the couch near the window. In the morning when Todd and I got up, we would creep softly out of her room so we wouldn’t wake her. Our house was very cold, with lots of marble and white couches that were all puffed up and glass coffee tables and white rugs with plastic on the corners to protect them. Everywhere were things that we could ruin, so we didn’t want to screw up and make the puffed-up couch deflate or leave marks on the glass tabletops. It was complicated to find a groovy place to hang out in. We usually ended up hanging out in the kitchen. That’s where it felt the homiest.

Now, my stepfather, Harry Karl, was not a handsome man but because he was wealthy and well-groomed he was said to be distinguished looking. That’s ugly with money. They actually made a movie about Harry Karl and Marie McDonald and their multiple marriages called The Marrying Man, and Alec Baldwin played Harry Karl. I think the resemblance is astonishing.

Harry had his own room with a closet that was pristine and beige. We had a laundress named Leetha who came in once a week just to do Harry’s shirts. His shirts were monogrammed, and he also had monogrammed slippers and paisley pajama tops and a lot of neat gray suits. There was one of those black and red things that twirls around and shines your shoes, and a secret drawer to hide his gold coins and a wooden coatrack to put his jackets on.

He also had a man named Phil Kaplan who helped him dress. And then there was a barber and manicurists who came in to help him get distinguished looking.

But the most unique room we had was on the way to the projection room. It was like an exercise room, but what stopped it from being an exercise room was that it had a barber chair in the middle of it.

We found out later that the barber who came every day turned out to be a pimp with a talent for hair. And people who have pimps know that they can’t do hair for shit. So those manicurists that the barber brought with him every day? They were probably doing more of a French manicure. The word “hangnail” comes to mind.

My mother, on the other hand, did everything herself. She was a very energetic human and could be unbelievably fun. Harry, though, was not fun. Not deliberately, anyway. But he did get out of bed wearing just pajama tops so the back of his penis was proudly displayed, and to top it off, he farted a lot, thus becoming a subject of great hilarity for my brother and me. We used to bring our friends over for a tour of the house, and if Harry was home, there were always gales of laughter.