Rex Read online

  © 2008 by Cathleen Lewis

  All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, scanning, or other—except for brief quotations in critical reviews or articles, without the prior written permission of the publisher.

  Published in Nashville, Tennessee, by Thomas Nelson. Thomas Nelson is a registered trademark of Thomas Nelson, Inc.

  Page design by Mandi Cofer.

  Thomas Nelson, Inc. titles may be purchased in bulk for educational, business, fund-raising, or sales promotional use. For information, please e-mail [email protected].

  Scripture quotations are from the Holy Bible: New International Version® ©1973, 1978, 1984 by International Bible Society. Used by permission of Zondervan Publishing House. All rights reserved.

  Transcript of 60 Minutes interview with Lesley Stahl is courtesy of CBS News © MMV CBS Broadcasting Inc. All Rights Reserved.

  ISBN 978-1-59555-208-2 ( IE)

  Library of Congress Cataloging-in-Publication Data

  Lewis, Cathleen, 1957–

  Rex : a mother, her autistic child, and the music that transformed their lives / Cathleen Lewis.

  p. cm.

  ISBN 978-1-59555-150-4

  1. Autism in children. 2. Autistic children—Family relationships. 3. Parents of autistic children. 4. Music therapy. 5. Creation (Literary, artistic, etc.)—Therapeutic use. 6. Autism—Treatment. 7. Autistic children—Biography. I. Title.

  RJ506.A9L49 2008

  616.85’270092—dc22

  [B]

  2008023100

  Printed in the United States of America

  08 09 10 11 QW 6 5 4 3 2 1

  In loving memory of my mother, Fauvette,

  that you could have lived to know the blessing of Rex.

  If I can love fully and completely as a mother,

  it’s because you loved me fully and completely as a child.

  Contents

  PROLOGUE

  CHAPTER ONE Beginning

  CHAPTER TWO Into the Dark

  CHAPTER THREE A World Upside Down

  CHAPTER FOUR The Meeting

  CHAPTER FIVE Searching for Understanding

  CHAPTER SIX Miracles

  CHAPTER SEVEN The Ripple Effect

  CHAPTER EIGHT The Real World

  CHAPTER NINE Savant

  CHAPTER TEN A System Out of Touch

  CHAPTER ELEVEN I.E.P.

  CHAPTER TWELVE Aftermath

  CHAPTER THIRTEEN Musically Speaking

  CHAPTER FOURTEEN Beyond the Music

  CHAPTER FIFTEEN Meeting Derek

  CHAPTER SIXTEEN Rex’s Time

  REFLECTIONS

  ACKNOWLEDGMENTS

  ABOUT THE AUTHOR

  Prologue

  I walked into the room holding my son’s hand. He was excited and buoyant, and his springy steps showed it. As he approached the woman who stood waiting to greet him, his body was almost electric, a grin stretching across the width of his round face. She was elegant as usual—perfectly dressed and perfectly coiffed. She was smiling as he approached.

  His enthusiasm preceded him, announcing before he even reached her, “It’s nice to see you, Lesley. Are you having a good day?”

  Lesley asked if they could shake hands. He extended his hand out limply, a notably odd contrast to his otherwise vigorous and exuberant body movements. It appeared so fragile. But the woman’s handshake was like a shot of adrenaline to him, and his hand suddenly went taut in her grasp. On pulling it away, he began jumping up and down for a few seconds, and when he stopped jumping, his body seemed unable to contain the emotion. His arms suddenly bent at the elbows, his forearms moving up and down in a rapid flapping motion, while his head began shaking from side to side, like a windup doll suddenly gone haywire.

  Lesley didn’t appear fazed by this sudden and extreme display of excitement and erratic body movements. A consummate professional, she instead merely said, “Rex, why you’ve grown so tall in the last two years.” Lesley Stahl had recorded her first profile on my son two years earlier when he was only seven. Now she was back to see how he was doing.

  I stood behind him and laid a hand on each shoulder, applying subtle pressure, which helped his body regain control.

  “How old are you now, Rex?” Lesley asked.

  Nine years old!” he said, as though it was a proud accomplishment. “But he didn’t linger there, his thought process already moving forward. “I like you, Lesley!”

  When Lesley responded in kind, perhaps hoping to then move forward in the conversation, Rex said, “I like you so much, Lesley!”

  “So Rex, what grade does that put you in now?” Lesley asked, referring back to his age, while ignoring what he had just said. I didn’t say a word—I’d been asked to refrain from speaking as much as possible—but I knew what not intervening would mean.

  He repeated eagerly, “I like you so much, Lesley,” and awaited her response, like he was stuck in gear. Again, she refrained from responding, presumably waiting for him to answer her question about his school grade. I bit my lip as he said again, automatically, “I like you so much, Lesley.” A broken record. And a stalemate.

  Finally, another woman in the room broke in. Shari was the producer, supervising the cameras and sound. The CBS television newsmagazine 60 Minutes was here in force with correspondent Lesley Stahl, who had arrived that day, heading the team. The producer had spent a few days with us prior to this interview, and she explained the situation to Lesley. “He’s waiting for you to say, ‘I like you so much too, Rex.’”

  My son had his scripts . . . indeed he broke them with difficulty in everyday conversation. Until Lesley responded in kind, “I like you so much too, Rex,” he would be locked in place, unable to move his thought process forward. It was as if he was an automated phone menu, which, not getting a proper response, loops back endlessly to the original cue. Her like response would provide the completion he needed to free him to answer her questions.

  “I like you so much too, Rex,” Lesley said, complying.

  It was instantaneous. His body visibly relaxed. And though it was less noticeable, mine did as well as he began to answer her questions.

  Although she had stood up to greet Rex as he entered, Lesley was now seated with him standing in front of her, putting them both at eye level. Rex had relaxed for only a moment, but now his body had turned once again to extraneous movements and excitement. She asked if she could support him with one of her hands, but he couldn’t seem to hold his arms still enough for that. Again, I tried the best I could to drain some of the excess adrenaline out of him by putting a calming hand on one elbow. It would be hard today—Rex was just too amped up.

  Lesley continued to interview my son in what was a labored process for him. He sometimes maintained his silence, seemingly confused by a question, or simply answered yes or no without further explanation.

  “Have you ever been in a swimming pool?” Lesley asked him.

  “No,” he answered immediately. Shari had asked me not to jump in unless it was necessary. They wanted Rex to answer on his own, but I couldn’t let this one go because I felt his answer to one of his favorite activities called for a little nudge.

  “But Rex, we have a pool at home. You love swimming,” I prompted him, trying to focus his mind on the question at hand.

  “So, you do swim?” Lesley pressed.

  “Yes,” he said. His body was calm now. He was trying so hard. The cameras had caught the whole thing.

  He hadn’t been expecting the question about swimming pools. Maybe that was it; the context had confused him. Or maybe it was the word ever. Did Rex understand what the word ever meant? It was such an open-ended, abs
tract word. Surely if she’d asked him if he’d been swimming yesterday, he would have answered with a hearty, “Yes, Lesley!” Maybe even adding, “And I had a great time swimming.” A question needed to be concrete, limited in time and space, in order to be answered by my son.

  We were hitting dead ends with too many questions, until Lesley asked him about an autobiography he had written for some students in North Carolina who had mailed him letters. In answer, he recited the whole autobiography verbatim, unable to contain his enthusiasm. It was a script, merely rote memorization, so it was easy communication for him. As he finished by saying, “I’m learning to snow ski. I like to ski full speed ahead!” he was every bit a child who loved his life.

  When the interview mercifully finished, Lesley walked ahead to the stage as I gave Rex a guiding arm. I was happy to be done with the arduous process we’d just completed. “It was an interview-issimo,” he told me as we made our way down the backstage corridor. “That means ‘little interview’ in Italian,” he explained in a conspiratorial way, like he was imparting a treasured piece of information. I wasn’t sure, but I suspected “issimo” actually meant the opposite—big. I wondered if Rex had understood it was supposed to be a little interview, but for him—and for me—it had turned out to be big.

  I was just glad to be moving onto the stage for the other part of the interview. This would be much easier for Rex. We had been in this theater on many occasions, but only in the audience. Today it had been reserved for our group, and the auditorium would remain empty. I was taken aback by the contrast in the clothes we were wearing, casual and colored, with the black, dramatically lit setting on the stage. But what I noticed even more was Rex’s smallness against the backdrop of the massive instruments that awaited him. There they stood, side by side, twin Steinway concert grand pianos, daunting in their majesty with their sleek lacquered finish. Rex, however, wasn’t intimidated. In fact, his whole body seemed to relax the moment he touched the familiar instrument.

  My little boy felt the piano bench, then maneuvered his body into position in front of the keys, his small feet stretching to reach the pedals. He played middle C and then touched his belly button with the same finger. “I’m right in front of middle C,” he announced, which meant, “Yes, I’m perfectly centered.”

  His piano was awash in light, but fortunately, none of the glare of the spotlights hit him in the face. I knew well how sensitive his eyes were to light. He was very familiar with this piano, although he’d never played it on stage before, only in the rehearsal room. His fingers came to life on the keys, attacking them, no longer seeming fragile; they were instead infused with dexterity, strength, and speed. As they had during the interview, the cameras caught it all. But here there were even more cameras, and they covered every angle. Nothing Rex could do would escape CBS here—the 60 Minutes cameramen were poised to catch each nuance of his fingers and body.

  “What is that you’re playing, Rex?” Lesley asked. It sounded like Mozart, or was it Bach? More likely than not, it was just vintage Rex. Or, more precisely, Rex was weaving together classical influences with others, more romantic, into his own improvisations.

  He confirmed my assumption with his answer, “I don’t know, Lesley.” That was his way of saying, “I’m making it up as I go.”

  “Well, it’s beautiful,” Lesley said as she sat down at the other Steinway. The real interview would be here. That was fortunate, since this was Rex’s turf.

  “Rex, I have a new song to play for you. I’m going to play it for you once, and then I’d like you to play it back. Is that okay?” Lesley asked.

  “That’s okay, Lesley,” Rex said.

  “This is called ‘Try to Remember,’” she announced as she began playing. She had gotten through most of the first verse when her hands suddenly froze on the keys. Turning quickly to Rex, she said, “I made a mistake. Can I play it again?”

  “Yes, Lesley,” he said simply. She gave it another go. This time she got a little farther into the piece, but her hands tripped up again. Before she had the chance to acknowledge it, Rex covered his ears, exclaiming in a loud, moaning voice, “It’s a mess, Lesley!”

  It’s a mess! He had been so floppy and chaotic himself, just moments before, as he answered her questions verbally, yet now he was crying out for precision. Indeed, anything less seemed to literally hurt his ears.

  “You’re absolutely right, Rex. It is a mess. I’m sorry, I’m not as good a piano player as you,” she apologized. She decided to try a different song. With the pressure on, she played “I’ve Never Been in Love Before” from start to finish. But she didn’t ask Rex to play it back verbatim, as she had wanted with “Try to Remember,” or as she’d done for his first profile, when he’d played back “Do You Know the Way to San Jose?” after hearing it once. Instead, she threw in a twist.

  “Rex, could you play that in the style of Mozart for me?” she asked.

  His answer was immediate—he didn’t hesitate an instant, not to reflect, not to measure, not to calculate. Instead, his hands jumped to the piano keys, filling the theater with light notes, cheerful notes, lots of trills and flourishes, Mozart-like runs up and down the keys to fill out the melody line. Lesley’s piece was instantly transformed into classical Mozart under the mastery of my son’s tiny hands.

  It was awe-inspiring to watch, as was shown on Lesley’s face as she took it in. As always, Rex clapped for himself when he finished. The rest of us on the stage applauded in sync. Instant, rote memorization was one remarkable skill, but immediate creative transformation was another dimension altogether. Now the fun began! Lesley asked him if he might be able to replay the song, but this time in the style of Chopin. Romantic Chopin!

  “I’ll play it like a Chopin waltz,” Rex announced as his left hand began jumping up and down the piano in three-quarter time. One, two, three, one, two, three . . . his left hand made flawless leaps as his right hand picked up the melody. And there were those unmistakable liberties taken with the tempo—now speeding it up, squeezing more notes in, only to later spread them out languidly as Chopin had intended. The listener was drawn in and tantalized, only to be pushed away like a rejected lover.

  Lesley began shaking her head in disbelief as she watched. The floppy, overexcited child, who seemed unable to control his body, was here master both of tempo and melody. How could he manipulate music with such ease? As I watched, I wondered why my son couldn’t find that same comfort within his own body.

  “Rex, do you think you could play it in one more style? Maybe like a Russian dance?” Lesley asked.

  “Yes, Lesley, I will play it like a Russian dance,” he answered. And then, as though Fiddler on the Roof was being rehearsed on that very stage, “I’ve Never Been in Love Before” was transformed into a choppy dance beat, romanticism replaced by driving power. Rex was having fun, and when we applauded again, he became more than giddy—he looked like he was electrically charged. His body went slightly rigid in his passion, forcing him to tilt backward on his piano bench. I could see my son’s laugh building up inside him until a big belly laugh broke free. It was a sound as stunning as the music in its abandon and resonant purity. It was a laugh that caused laughter

  “You’re amazing, Rex!” exclaimed Lesley, chuckling herself.

  “Yes, Lesley,” he said. Spontaneous, guileless, joyful—Rex was every inch an innocent child.

  “There doesn’t seem to be anything I can throw at you that you can’t do, Rex,” she said.

  “No, Lesley,” he responded, simply.

  My son had just told Lesley Stahl that there wasn’t anything she could throw at him that he couldn’t field—musically anyway. Not with his prodigious talent. The 60 Minutes cameras caught it all for a second profile on my little nine-year-old boy, only two years after the first one. But why were the cameras back so soon? The world was filled with gifted children—so many child prodigies. But there weren’t many like Rex, I thought, with a catch in my throat, not many who had been put to
the test time and time again, whether at the piano, performing feats of wonder, or just going about the simple daily tasks of life. Rex was an exceptional child, no doubt about it. He was exceptionally gifted and exceptionally challenged. But why had Rex been given so much—on both ends of the spectrum? As I watched him beaming with pride at his musical abilities, I couldn’t help thinking about how much life had thrown at him. It was all summed up in the opening lines of “Musically Speaking,” his first 60 Minutes profile, filmed at age seven and airing three months after his eighth birthday. Correspondent Lesley Stahl opened the segment saying, “One of the most fascinating and mysterious features of the human mind is its capacity to house striking abilities and profound disabilities in the same person, as we discovered in an eight-year-old boy named Rex.”

  Fascinating. Mysterious. How could Rex play music with such mastery and not be able to answer a simple question or tie his own shoelaces? How could his inability to control his body be so contradicted by the absolute control he has playing the piano? These questions, and so many more I’d asked myself since I brought him into the world, were all leading me to wonder what beautiful mystery had created the remarkable complexity that is Rex.

  CHAPTER ONE

  Beginning

  Fear not that thy life shall come to an end,

  but rather fear that it shall never have a beginning.

  —John Henry Cardinal

  I was pregnant—very pregnant. I looked down at my belly and hugged it . . . and him. We knew it was a he; rather, “he” was a boy. I’d get it right. We’d give him a name soon, but it had to be the perfect name. Anything less would be, well, not quite perfect. My husband, William, and I had both wanted a boy, William being South African and macho, and me being—or rather having been—a tomboy. Admittedly, I was still quite in love with sports and my husband and the world! I was giddy, that’s the word. I was foolishly, schoolgirlishly giddy! Three weeks from delivery, and I was in this growing state of excitement, of anticipation that was growing with my belly, growing with the little boy who had my profile. The ultrasound had captured the image of my pug nose—it was unmistakable. That’s when the beautiful reality had really struck home.