When Robin Flew Away: The Death of Robin Williams

Updated on February 16, 2024

On my personal scale of the sad and unthinkable, Robin Williams' suicide is off the scale. In fact, on its way to being off the scale, it flattened the scale, smashed the scale, and obliterated the scale under morbid, coarse, repugnant tonnage. 

Image source: stockadobe.com

I say all that as a lowly fan, a woman whose existence was unknown to him, a woman who imagined that he was, in some way, ethereal. 

My favorite Williams film, and one of my favorite movies ever, is The Fisher King. In it, Williams plays Parry, a homeless man with mental illness who lies on his back in Central Park, nude, watching the clouds. 

I saw The Fisher King only once because I was so emotionally wrung out by it that I never quite had it in me to watch it again. Just thinking about Parry, so vulnerable, an innocent among monsters, nearly makes me sob again all these many years later. And it seemed to me then as it seems to me now, that there was a lot of Williams in Parry - or maybe it's the other way around.

When he died, people said they were shocked but not surprised, that there often seemed to be "something about him." My inept description of that "something" is wistful melancholy, a look I liked to think meant that he knew more than all of us mere mortals combined, and that the knowledge weighed heavy. Sometimes that look came with a faint smile, a barely perceptible upward curve of the lips, a smile that belied resignation. 

At other times, he was the impish, pesky child you couldn't bring yourself to punish, and, when the role warranted it, he looked absolutely chilling. All of which unearths a question: When Williams looked in the mirror, which Williams looked back?

When Robin Williams was on, he was very, very on, as though God had strapped an Acme rocket to his backside and lit the fuse Himself. How his mouth kept up with his mind is beyond me, as is any grasp of how he improvised so brilliantly.

At first, I had a romanticized notion of William's death, that he had figured out the meaning of life, identified what lies beyond our universe, and, unlike Parry, grew weary of clouds. I told myself that after analyzing the sad reality of this situation, Williams concluded that it was time for him to go. 

I know now that Lewy body dementia, was revealed via autopsy. I know now that he was very ill in his body and his mind, and I know now that that was what led to his death and not some cosmic, dark, angelic, insight beyond the grasp of Earthbound brains. Any way you look at it, Robin Williams cashed in his millions in chips and left the rest of us flat broke. 

Some talking-head pundit asked what Williams' suicide would mean to his legacy. I once thought that question was ridiculous. William's death was a separate issue, and his body of work would always stand. 

Until, for me, it didn't. 

Because I soon realized that I could no longer watch Robin Williams movies and that I could barely tolerate even brief clips. Almost 10 years later, I still can't, and trying to just feels too damn sad. Maybe that's a different kind of legacy, and if so, it too feels too damn sad. 

I wish Robin Williams could come back healthy, happy, and adlibbing an Elizabethan blue streak, but he can't. As for me, I have children to praise, bad poetry to write, and a million other things that tether me soundly and happily to life. It seems I like having an Earthbound brain. 

Besides, he took Parry with him, and someone has to watch the clouds. 

  

To Kill a Mocking Watchman

Go Set a Watchman, the prequel/sequel/whatever-the hell to Harper Lee's To Kill a Mockingbird has been around for nearly three years (if you don't count the decades it lay in hiding), but millions of Lee fans are still hoarse from screaming out shock and dismay when it was finally released.

Image by Teece Aronin

If you've been curled up in a porch swing with Boo Radley and not getting out much, here's what happened: After insisting for more than five decades that her first first novel, To Kill a Mockingbird, would also be her last, Lee released Go Set a Watchman after what was likely a lot of encouragement from her lawyer, Tonja Carter. 

Watchman started life as the manuscript Lee first presented to her editor when she was a bright and shiny new novelist. The editor advised her to rework it and build on the book's flashbacks. The result was To Kill a Mockingbird, about middle-aged Atticus Finch, an attorney, who, in Depression-era Alabama and at the height of Jim Crow, defends a black man wrongly accused of assaulting a white woman. The book made an instant literary giant out of Lee who was struck virtually mute by the hoopla and clung tightly to her privacy forever after.  

Lee did reveal, however, that Atticus Finch was modeled after her father. In 1963, To Kill a Mockingbird became a masterpiece of moviemaking, and the film earned Gregory Peck a best actor Academy Award® for his portrayal of Atticus. Generations of predominantly white people revered Atticus, many naming babies after him and patterning their parenting styles after his. But in Watchman, Atticus, now in his seventies, is easily identifiable as racist.

“How could this happen?” people cried, again mostly white people. Many of us had deified Atticus, or at least made him as godlike as a fictional character can be. After all, Atticus Finch sat up all night outside a jail, armed with nothing but a floor lamp and his own shining goodness to defend an innocent black man from vigilantes. He defied all of Maycomb and then some to defend this man in court. How dare Harper Lee take all that away from us? WTH? (Whites Thinking Hopelessly).  

Watchman's release made me wonder if Gregory Peck went spinning in his grave, screaming about his legacy. I also wondered what the conversation might have been like had he visited Lee on the eve of Watchman's release. What might such an encounter have been like? Imagine with me, if you will:

. . . a stormy evening in Monroeville, Alabama, Harper Lee's hometown and inspiration for the fictional Maycomb where To Kill a Mockingbird is set. Eighty-nine-year-old Harper Lee tugs the vinyl cover over her old Olivetti typewriter. It’s time to call it a day. For all practical purposes she is blind and deaf but one needs no eyesight nor any hearing to find one’s way around a typewriter, especially when one has been typing for nearly 70 years. 

Lee smiles to herself. She's been secretly writing novels since Mockingbird was released, and they'll all sell like hotcakes when she's gone. The one she's working on now is her 112th. "Steven King, you're a hack," she chuckles. On top of the typewriter, she plops a stack of typed papers designed to throw off her “bloodhound of a lawyer” and those “snoopy publisher people.”

Atticus/Schmatticus, Atticus/Schmatticus, Atticus/Schmatticus reads the type.   

“Atticus/Schmatticus, Atticus/Schmatticus, Atticus/Schmatticus,” chortles Ms. Lee.

Typing gibberish is how she gets to keep a typewriter without arousing suspicion. If people think she’s a trifle demented, let them; it's a brilliant ruse. Still, she’s miffed at herself for allowing the bloodhound and the publishing people to talk her into publishing the book due out tomorrow. Maybe she was demented after all. No, not demented - curious. If she hadn’t been so curious about what would happen when all those Atticus groupies got their boats rocked, she could’ve gone to her grave with her legacy intact and they could have published the book posthumously if they took a mind to. 

By the time the grits hit the fan she’d have been settled in Heaven with her harp and her halo and wouldn’t care a bit. In the event there is no afterlife, her light would have blinked sweetly out like that of a Maycomb firefly, and she wouldn’t know what people were saying about her. She pads on blue-veined feet to the bathroom, grateful that she needs little assistance from the young, strong staff whose hands work her over like a swarm of locusts whenever they bathe her. She lifts her nightie with one hand and grasps a grab bar with the other. She eases herself onto the toilet. 

"Har-PER?" booms what Lee first fears is the voice of God but seconds later, recognizes as Gregory Peck's. She's not totally surprised. She's often wondered what Peck would think of the new-old book or the old-new book; even Lee isn't sure which it is. Not appreciating his tone, she meets fire with fire: 

"Wait until I'm off the damned crapper!"

Peck, ever the gentleman, falls silent while Lee is in the bathroom.

"Could you think of no one but yourself?" he chastises as soon as she returns. 

"Nope!" she replies, not even pretending to attempt eye contact since there is no body in the room besides hers. She sits on the bed and attempts to swing her legs in without giving Peck's ghost an eyeful. 

"Harper, you're making me look bad! You're sullying my image!" intones Peck.

"Really!" barks Lee. "You didn't do that yourself when you played that whale-happy Captain Ahab? And I suppose Josef Mengele, was a kindly old doctor who retired in Brazil so he could save the rain forests! Honestly, Greg, you actors really fry my soup!" 

There is a lengthy silence before the once booming voice mutters, "My apologies, ma'am."

"That's better!" Lee barks, hiking her blankets up to her neck and turning her back on Peck's ghost. 

To New Heights

It's not every day you see your ex-husband on the big screen. And it's not every day you make a scene in front of hundreds of tourists at Chicago's Willis Tower. I did both in the same day. 

Michael with a larger-than-life image of 

alter ego, Morgan, his role in Special Unit. 
Photo courtesy Michael Aronin.

My ex-husband, Michael, father of my teenagers, Sydney and Jon, is a professional stand-up comic. As the result of a birth accident, Michael has cerebral palsy which affects his speech, gait and motor skills. Despite the obstacles, by age seven he was using humor to engineer bridges between his world and the world of the so-called mainstream, charming everyone he encountered. After building hundreds of bridges to thousands of people, he was ready to perform stand-up for the first time when his junior high school held a talent show. 

When Michael grew up, he became a stand-up comic for real, appearing in clubs all over the east coast, including the famous Caroline's in New York. Over time he was traveling farther and branching into motivational speaking. We were even on the Howard Stern Show. Michael was a scheduled guest; I was dragged in from the green room. 

As for me - I grew up loving movies. Comedies, horror films, silent films, early sound, German expressionist horror films, B-flicks, it didn't matter; I was crazy about them. I've loved Cinerama, cinema verité, film noir, shorts, and documentaries. My fondest dream at age 10 was to be a film historian. From my early teens into my late fifties, I never missed an Oscars telecast, and the only reason I finally did was because of a power outage. In high school I participated in something called the Youth Film Forum, and in college I majored in theater thinking I might eventually transfer to the California Institute of the Arts to study filmmaking. The cherry on top would be getting to act in a film.  

I spent two summers in L.A. working for Forrest J (no period) Ackerman, editor of the magazine, Famous Monsters of Filmland. Forry always insisted that it was he who coined the term sci fi, and I never had reason to doubt him. Writer, Harlan Ellison so hated the term that he is said to have described it as "the sound of two crickets screwing."

Because of Ackerman, I met Darlyne O'Brien, widow of Willis O'Brien, who gave the world the original “King Kong” and the process of stop motion animation. I rented a room from her one summer. Through Darlyne I met Ray Harryhausen and was a weekend guest in the home he shared with his wife, Diana. I was their dinner guest one evening and Diana’s shopping companion one afternoon. At Darlyne’s, I got to hold the Oscar Willis O'Brien won for “Mighty Joe Young.” Darlyne kept it dressed in a matador outfit and stashed in a safe. 

I say all that to say this: If God were to choose between Michael and me which of us should be in a movie, I think it should be me. So, anyhow . . . Michael was starring in a movie. 

It all started sometime around 2,002 when he opened for comedian Christopher Titus and they became friends. One day, Titus had an epiphany and started work on a script about a crooked Van Nuys cop who cheeses off the mayor. As payback, he is ordered to train a squad of police cadets with disabilities. The only reason these cadets were hired was to appease them after they sued the police department for discriminatory hiring practices. The script is very pro-disability community, and the cadets prove themselves more capable than the police or City Hall expect. Michael was one of the first people Titus thought of when dreaming up the plot and cast. The title of the script: Special Unit. 

A few weeks ago, Michael and I were on the phone making plans for the kids and me to join him and his wife, Mia in Chicago where Special Unit was featured in a film festival. 

“You know,” I said, “I’m the one with the life-long dream of being in a movie. I’m the one who studied film history. I’m the one who studied acting. I’m the one who rubbed elbows in Hollywood.”

“Well, baby,” said the bridge-builder, “there’s always porn, so chin up. And down. And up.”

“Mi-chael . . . “

“And down.”

A few days later, Michael called and said that while we were in Chicago, we should take the kids to Willis Tower, formerly the Sears Tower. At 110 stories, Willis Tower is the tallest building in the Western Hemisphere. It has an area called the Skydeck with two things called the Ledges. The Ledges are glass boxes extending about four feet from one side of the building. For the price of a ticket, visitors can step onto a Ledge where they have just three glass walls and a glass floor between them and a messy landing in eternity. 

Michael emailed me a link to pictures of the Ledges with a note saying, “You and Mia can play rock, paper, scissors to decide which one of you gets to cut the glass out from under me. Choose wisely.”

I wrote back, “If Mia and I play rock, paper, scissors to see who gets to cut the glass out from under you, there is no need for a wise decision, dumb-dumb. That's why you play rock, paper, scissors, so no one has to make a decision.” Michael called me later to tell me that was “just mean.”

The following Friday the kids and I packed the car and headed to Chicago. When we arrived, Michael, who had insisted on paying for the hotel, had the five of us booked into two adjoining rooms. That evening we all had dinner together, and Michael gave each of the kids and me an engraved thank you gift for coming. We talked about going to Willis Tower the next day. 

“You pay for the Uber going out, and I’ll pay for the Uber coming back,” Michael proposed.  He calculated that there would be plenty of time when we returned from the Tower to get ready for the film festival where my college friend, Marc would meet us with his family. The plan had a faint Rube Goldberg tinge to it, but Michael was confident it would all work out. 

The next morning, Mia called us into their room. Michael was lying on the bed and had thrown his back out while putting on his socks. I looked at the cloth culprits covering his feet. They were orange, teal, and white-striped and looked like they'd been made for either a child with big feet or a clown with small ones. Paradoxically for the socks, it had turned out both ways.  

Michael was rejecting Mia's advice that he not go to Willis Tower while Michael insisted that with a cane and/or wheelchair, he'd be fine. When it became clear that even sitting up caused searing pain, he agreed to stay put and rest. I would take the kids to Willis Tower. 

"Maybe we can all go to the tower tomorrow," I suggested, but Michael said their flight was at 5 a.m. 

"Well, maybe I should still take the kids tomorrow. What if we get tied up downtown and can't get back in time for the movie?"

"It's not even noon," said the sage. "You have plenty of time." 

The kids and I Ubered to Willis Tower and walked past a line of people stringing out of the building, down the sidewalk and around the corner. We wondered what that was all about. Then we strolled into the lobby where a severe-looking man in a dark blazer stopped us.

"If you're here for the Skydeck, the line is over there." 

It was the same line we'd passed, and passed, and passed coming in.

"And it's an approximate two hour wait from here," he continued, helpfully.

Standing in line, I tried to calculate whether we should stay or call another Uber and head back, but the thought of spending that much money without getting to do anything was more than I could stand so we stayed put. 

The line jumped forward every 10 minutes or so, and eventually we passed through a security check. Later we came to an open space with a green-screen and a floor mat in front of it. Standing between us and that open space was another stern-looking man in a dark blazer, this one ushering people to the green-screen. About 20 feet in front of the green-screen was a plucky-looking woman with a camera. Her job: merrily photograph your party so that before you exit, someone else could sell you a fake picture of yourselves standing on one of the Ledges. Why people would buy such a picture after taking real pictures of themselves on the Ledges was beyond me. Sydney found the whole set-up anxiety-provoking and wanted no part of it. 

"No problem," I said. "I'll just tell them no."

When it was our turn to step in front of the green-screen, I told the usher that we didn't want our picture taken and would just mosey on through. He seemed very serious about his work and a little menacing when it came to carrying it out.  

Usher: "Ma'am, please move with your party onto the mat."

Me: "As I said, we don't want to, but thanks. We'll just pass through, and that will speed things up a little."

Usher: "But we do it for everybody."

Me: "But my daughter's uncomfortable with it."

Usher: "But we do it for everybody."

Me: "But my daughter's uncomfortable with it."

Usher: "But we do it for everybody."

Me: "But my DAUGHTER'S UNCOMFORTABLE with it."

It occurred to me that this was hardly speeding things up, and I was surprised nobody behind us had yelled at us. It seemed wiser to just get onto the mat and get it over with. 

"Okay, come on, kids," I said, stepping onto the mat. "Let's get our pictures taken." Then I turned my back to the camera. 

The photographer, no longer smiling, threw up her hands and yelled at the usher, "Oh, they can just go!" 

It took Syd at least five minutes to coax her face out from behind her hands. She said she couldn't believe I'd done that. Jon, on the other hand, was in awe of his mother. I explained to Syd that I'd done it for her because they were making her uncomfortable.

"Well, I'm more uncomfortable now!" she moaned. 

An hour later we stepped onto one of the Ledges. I wasn't sure until the last second that I'd  do it, but as a friend who'd survived it said, you are so high up that the height almost becomes abstract and not as frightening. That's how I experienced it too. But it was a little unnerving that cars appeared to be a quarter the size of my pinkie fingernail. 

When we got back to street level there was no time to stop at the hotel and freshen up, so we Ubered straight to the movie theater. We all converged on the theater lobby within minutes of one another and sat together in two rows. It was a little weird seeing Michael's dimpled face on a movie screen, and I smiled thinking how far he had come since his first performance in junior high. Then I thought of all the actors and filmmakers I know of who started in stand-up: Woody Allen, Robin Williams, Lily Tomlin, Jim Carrey, Whoopi Goldberg; the list goes on.

And I had to admit that while I had the love, Michael had the passion, and while I had the knowledge, Michael had the talent. So if God had to choose between Michael and me which of us should be in a movie, I knew then it should be Michael.