The big ‘I’

Other people’s words about … the view

Sit. Quietly. Turn your awareness to your heart space.

Now imagine you’re sitting on a small wooden bench with yourself. Imagine you’re doing so in that space in the centre of your chest. There you are, sitting to your right, the little nattering humanoid that you are, berating yourself for eating too much at lunch and debating whether to hang the washing out or not. This little nattering self is your little ‘i’. You (the big ‘I’) can watch it all. Yep, there you are, sitting quietly, looking out at a view, over treetops down to an ocean. On your little bench. Together. You’re just hanging, nowhere to go, nothing to do. The two of you …

From ‘First, We Make the Beast Beautiful
by Sarah wilson

It was my friend and fellow blogger, Anne, who first alerted me to the appeal of benches — I mean, real benches, in real life. In her ‘Bench Series‘, she posts photos of benches that she’s snapped from all over the world. I’d never really looked at benches before, except as convenient things to sit on while I rested and took a moment to enjoy the view before me. Now I find myself noticing them (and photographing them) all the time.

The kind of bench Sarah Wilson describes in the passage I’ve quoted above, though, is a metaphorical bench, one that you can only find within yourself. It’s a place where you can sit while you encounter, and learn to accommodate, your two selves: the busy, superficial, language-oriented self that churns out thoughts night and day, and the deeper, quieter, wordless self that lies beneath all the nagging chatter.

The idea of the two selves isn’t unique to Wilson. It’s an idea common to many systems of thought, one we’ve all become more familiar with since the recent popularisation of mindfulness-based practices and therapies. But I particularly like the way she uses the image of sitting on a bench to explain it. It’s a simple, vivid, accessible reminder of how easy it is to get caught up in (and believe) your own thoughts.

A thought, after all, is only that: a thought. It may be true; it may not. Thoughts and the truth exist independently of each other. When I first came across this idea (here), it seemed both counterintuitive and revolutionary to me. I’m still grappling with it.

Wilson again:

And then it might occur to you that your little mate ‘i’ is just that — a little mate sitting next to you. And that this Big ‘I’ is who you really are. It feels deep and close and yet so vast.

Okay, I’ll admit I winced, at first, when I read these words. First, I’m not sure that the quieter self (the one Wilson calls the Big ‘I’) is deep or close or vast — or, indeed, in any way somehow ‘better’ than any other part of our self. I think that it just is.

Second, I was troubled by her use of the phrase little mate both to describe the thinking self, and to distinguish that self from the non-thinking self. I found the phrase overly colloquial, like some kind of condescending attempt to make a difficult concept more user-friendly to her less educated readers. But I have slowly come to feel the opposite way about her wording. The word mate implies friendship: it implies love, acceptance, forgiveness. Also fun. That’s helpful, I think. Why vilify a part of yourself, when you can instead smile and make friends with it?

Wilson uses meditation to find her bench. As you know, I don’t. But I don’t think that matters. What matters is that you know the bench exists — and that you know how to find it, however you get there.

And whether or not your prefer your benches real or whether you prefer them metaphorical, I wish you many sun-dappled, peaceful benches of your own in your life, wherever you happen to be.

Snatched phrases (on terror)

In the actual moment, you do not have a choice.
Grace finds you.
Acceptance hunts you down.

From ‘The Violet Hour: Great Writers at the End
by Katie Roiphe

Forgive me, but I’ve pulled Roiphe’s words out of context here. She is talking, specifically, about death: her fear of it, and her admiration of the way others face it. I don’t have the same preoccupation with death — or not yet, anyway: not in my mid-forties. I like to hope I have some way to go before it crosses my path.

Still, sometimes I think that fear is the great equaliser. Maybe you get through the terror because you have to get through the terror, Roiphe writes. It’s the same with all great fears, isn’t it?

Grace, acceptance, resilience, surrender — these are all things I’ve touched on before on this blog (here, for example, and here). May they come to you, too, in your moments of greatest fear: may they be your companions along the way.

The beast

Snatched phrases (on being present)

Do the anxiety. Then leave it there. This is our challenge.

from ‘First, We Make the Beast Beautiful: A New Story about Anxiety
by Sarah Wilson

Simple words, huh? They apply to all manner of ills, I think — not just anxiety. They are about staying in the present: doing the hard stuff when it comes up, not questioning it or agonising over it … and then leaving it behind and moving on.

There are no solutions to anxiety out there, Wilson argues further on: no cures or fixes. So you just do it …

… and then you leave it.

This makes great sense to me.

Today’s photos? They’re from one of my latest bushwalks, a couple of weeks ago: mid-March. It was a still, grey afternoon, and when I first began to walk, the colours seemed drab, and the birdsong was muted, and the air felt unkind and cold.

But as I wandered on, I began to see a few flowers despite the greyness, and I came upon a kangaroo, which stiffened at my bumbling approach and then bounded away. I heard the sea murmur somewhere through and beyond the thicket of trees, and a magpie began to carol, low and soft.

I had done my day, and I had left it there, and things were fine. Just fine.

In the middle of ordinary life

Other people’s words about … meditation

While I was [at Maharishi’s meditation course in the Alps] I managed to meditate for up to four hours a day, but back home it all seemed difficult again. And then, gradually, as I listened to the lectures it dawned on me that meditation was for recluses or people inclined that way. Prolonged practice could only result in a detachment from life that, although it might be better, I didn’t want. I didn’t want to become indifferent to anything, and as I watched those closest to Maharishi it seemed to me that they had this desire, gift, need — however you want to put it. I wanted to be in the middle of ordinary life trying to make the best of it even if — I could see more clearly now — it entailed my making the same mistakes many times. I didn’t want to give my life to anyone, I wanted to have it and use it and be an ordinary householder. So gradually I stopped. I think of Maharishi with great respect and affection, and I am sure that there is a spiritual hierarchy in which I am merely on the lower rungs. That was it.

from ‘Slipstream
by Elizabeth Jane Howard

I’ve written before about how I tried meditation recently (again), before deciding, finally, that it didn’t work for me. I don’t want to bore you by repeating myself endlessly on this blog; please feel free to read my older posts about the topic if you’re interested. Most particularly, what has worked for me, post-meditation, has been learning to spend my days looking outward rather than inward.

I do particularly like Elizabeth Jane Howard’s spin on the theme, though. That’s why I’m revisiting it today. Perhaps, when she wrote the words above, meditation wasn’t considered to be the cure-all that it often is now; perhaps, for that reason, her words were less transgressive than they seem to me as I read them today. Still, I find her words wise and humble and filled with gratitude. Ironic, isn’t it? Those three things — wisdom, humility, gratitude — are all things we are often told we may develop through practising meditation.

Tea for one —
an ordinary pleasure,
all the more worth treasuring for its ordinariness

Like Howard, the older I get, the more I realise how attached I am to life — and how much I want to stay attached. My days are filled with petty, mucky angst, and I like them that way. Yes, I have bad days — days when my head aches, and my stomach churns, and my throat crawls with a hot kind of sickness and I can’t figure out why; days when my thoughts seem fevered and panicked and tumbling and disconnected; days when it takes all my effort to get dressed for work, and go in, and sit at my desk, and stay seated there, and stay still, oh, just stay still.

Still, even as I wait the bad days out, not knowing how else to get through them, I find myself wanting, in my strange, fierce way, to hold onto them. Because, like Howard, I want to be in the middle of ordinary life trying to make the best of it.

It’s about honouring life, really, isn’t it? That’s what I want to strive for. That’s all. That’s really all.

Darkness encroaching

Other people’s words about … winter

Minutes after that the sun came out: brilliant, stunning us all. Still, it was no surprise when we were let out of school a half hour early due to the windchill. I made my way home from the bus stop at a rigid trot. I crunched along the snow-packed trail, felt the wind come off the lake in blasts, heard the pines groan and creak overhead. Halfway up the hill, my lungs started to feel raggedy. My face changed into something other than face, got rubbed out. When I finally got to the top of the hill, when I slowed down to brush ice from my nose, I turned and saw a puff of exhaust across our lake. I had to squint against all that white to make it out.

From ‘History of Wolves
by Emily Fridlund

Many years ago, I spent a winter in Michigan in the USA. For a whole month, the temperature did not lift above zero degrees Celsius. Having lived in South Australia most of my life, I had never seen a lake freeze over before. I walked across the surface of the frozen water, and grasped for the first time the meaning of the term ‘windchill’, a term I realised I had never understood before. A little way further out, a fisherman sat in a folding camp chair with his line cast down into a carved-out pool at his feet. I thought of taking a photograph, but my hands grew numb in the few seconds it took me to take off my gloves and fiddle with the lens on my camera. How can you grow so cold so quickly? It didn’t seem possible.

My American friends, knowing my love of ice cream, suggested taking me to the ice cream parlour in their local town, but it was shut down for the winter. We did a quick march up and down each side of the main street to look at the ice sculptures standing outside the shops. I kept expecting them to melt. I am Australian: I expect ice to melt. That’s just what it does.

For me, Emily Fridlund’s words, which I’ve threaded above and below throughout this post, capture the essence of that winter I spent in the northern hemisphere.

Overhead each afternoon we could hear the Canada geese coming back. We could hear them giving directions, labouring through wind currents, setting down their Vs. When the sun had just about set, we turned around, Paul lagging, getting farther and farther behind, so as the day grew truly cold –- miniature winter setting in, the way it does at night in April –- I put the backpack on … and we headed back toward his house on the lake.

What a lovely phrase, don’t you think?: Miniature winter.

Here in South Australia, where our climate is temperate, we don’t have four distinct seasons. Autumn is the beginning of what I always think of as the grey months. Our native trees are mostly evergreen, so they don’t shed their leaves; the weather simply grows windy, rainy and cold. As winter approaches, the days grow greyer still, and the hours of daylight shorten. The sky seems to sink lower over the earth, closing everything in. The world grows monochrome.

But then, in the middle of March, the temperature shot up to fifty and miraculously stayed there. Within a couple of weeks, the south slope drifts had eroded to stalagmite pillars. A wet sheen appeared across the surface of the ice, and in the late afternoons you could hear the whole lake pop and zing. Cracks appeared. It was warm enough to gather wood from the pile without mittens, to unfreeze the latches on the dogs’ chains with the heat of your fingers.

This time of the year — the first days of March, the very beginning of autumn — I always grow nostalgic for summer. Down the road at the beach, the sea is still warm enough to swim in, and the sand crumbles soft and dry and warm beneath my bare feet. A sense of urgency comes over me as I look up at the upside-down bowl of blue sky above me. I murmur spells at it, trying to make it stay.

The grey months are coming but not yet, not yet.

Note:
The pictures accompanying today’s posts are photos I’ve taken over the last few years during the South Australian winter. It may look as though I used black-and-white film, but I didn’t. That’s just the way it is.

When the wall comes down

Other people’s words about … the view

When I was about fourteen or so, I studied a poem in school by David Campbell, called ‘On the Birth of a Son‘. It was a sonnet, and I didn’t know much about sonnets, except that Shakespeare wrote a lot of them. It never occurred to me that a contemporary poet might write one.

This sonnet by David Campbell has stayed in my mind ever since. It remains one of my favourite poems. Here it is, in its entirety:

The day the boy was born, the wall fell down
That flanks our garden. There’s an espaliered pear,
And then the wall I laboured with such care,
Such sweat and foresight, locking stone with stone,
To build. Well, it’s just a wall, but it’s my own,
I built it. Sitting in a garden chair
With flowers against the wall, it’s good to stare
Inwards. But now some freak of wind has blown
and tumbled it across the lawn — a sign
Perhaps. Indeed, when first I saw the boy,
I thought, he’s humble now, but wait a few
Years and we’ll see! — out following a line
Not of our choice at all. And then with joy
I looked beyond the stones and saw the view.

On the face of it, this poem is about becoming a parent — the fears new parents have; the limitations parenthood imposes on their lives; the unexpected, unsettling joys it rewards them with. So it might seem strange that Campbell’s words have always resonated with me, though I have chosen, deliberately, never to become a parent.

But that’s the thing about great poems: they are universal. They manage to strike a chord in different people at different times for different reasons.

For myself, every time I read this poem I am moved by the contrast the poet makes between the act of looking inward — at his safe, pretty, cosy life — and the act of looking up, out, to glimpse a view of the world, and his life, beyond.

The view beyond. Recently, I went on a holiday in Yorke Peninsula. I returned to one of my favourite spots, following a long, undulating, unpaved road to get there — one that is corrugated and dotted with puddle-holes, dusty with sand stirred up by other passing vehicles, and lined with dense thickets of bush where brown snakes lie coiled, sleeping.

Each day I passed my time the way I always pass my time there. Each day I woke to the same view.

But it is a spectacular view: of open skies, of wide seas, of sprawling cliffs and rolling sand dunes. It is a view of a life beyond the life I normally lead. It is a view that sets me free.

I live a small life: small things give me pleasure. I consider myself, mostly, lucky to be able to live this way. And yet it’s good to escape from time to time: to look up and out and beyond.

And to see, again, the beautiful view.

Notes

You can find a link to this poem here and here.

Inhabitant

Other people’s words about … noticing

Over the last year I have discovered a passion for birds and wildflowers in particular, along with the ever-present kangaroos. I love the texture of bark, the colour of leaves and mosses, I’m utterly fascinated with the fact that I can walk around our small patch of natural bushland each day and find something I’ve never noticed before. Or find something I have noticed before, but it catches my eye for a different reason.

from ‘Fifteen Acres: A Small Slice of Paradise‘ blog
by Lisa from Central Victoria, Australia

I came across Lisa’s blog only recently and instantly realised she is a kindred blogger. Her blog documents her growing understanding of, knowledge about, and love for all the species of native flora and fauna that live on her block of land in rural Central Victoria. I get the feeling that Lisa has learned about her patch of land simply by walking through it and observing.

One of my favourite parts of the world in my state is Aldinga Scrub. I didn’t even know about the scrub’s existence until I was well into adulthood: it was the beach nearby — with its beautiful cliffs, its blue waters, its fish-inhabited and bird-dotted reef, its wide sands — which initially attracted me.

The first time I walked through the Aldinga Scrub, I was just curious. I had heard that it was the last remnant of original coastal bushland in South Australia, and so I wanted to see what it was like. A year later, going through another phase of feeling inexplicably agitated and uncomfortable in my own skin, I decided to try walking there more often. I thought that, if I made the effort to look outwards at the world around me instead of looking inwards into my own seething internal landscape, I might find solace.

And I did.

A small kind of miracle happened as I revisited the Scrub again and again. As I wandered, I began to wonder. As I wondered, I stopped. As I stopped, I observed. As I observed, I noticed, as Lisa puts it. And then, at last, I started to see and to learn.

Something else happened, too. I began to inhabit the world around me during those walks. Inhabitation — it’s a powerful word. Maybe it’s pretentious. Maybe it’s corny? And yet that’s how it feels.

It never stops, this seeing, learning, wondering, inhabiting. That’s another kind of miracle.

The pictures in this post are photographs I’ve taken over the years on my many visits to, and walks through, the Aldinga Scrub. Here you can see it in its many moods, its many seasons, its many tempers. I don’t know if my photographs can convey the wonder I felt as I took them, or the remembered sense of discovery I feel now when I return to them, but I hope that they convey, at least, the deep joy that my wandering has brought me.

That’s the thing, you see — noticing is both a humble and a joyful process. It’s a privilege to inhabit this kind of joy.

Of love and tomatoes

Other people’s words about … tomato sandwiches

I’d asked [my disabled friend] Jessie when a doctor had last looked at her. She couldn’t remember, so [while Jessie was staying with me] I went to my doctor, still Jock Ledingham’s wife, Una, at her practice, which was in their home in Ladbroke Square.

Una listened to me kindly, and then asked if anyone was nursing her. ‘Only me.’ There was an awkward pause, and then I added, hardly audible, ‘And I’m afraid I’m very bad at it.’ Lack of food and sleep made me start crying again.

‘I’m going to make you a tomato sandwich,’ she said. ‘All my family can manage a tomato sandwich whatever they are feeling like.’ She did, and I ate it, and felt much better.

from ‘Slipstream: A Memoir
by Elizabeth Jane Howard (p. 147)

When I was a child, my mother would sometimes make my sister and me tomato rolls for dinner instead of our usual cooked meal. This was a summertime-only ritual — she saved it for those evenings when the air was thick and heavy with heat. My sister and I would have spent the day dipping in and out of the swimming pool, so that our skin and hair reeked of chlorine. We’d come inside and stretch out on the carpet in the living-room at the front of our house, next to an electric fan. We’d read, or watch the cricket on television, or play Lego, or colour in, while the fan blew warm air over us and our hair dripped down our backs, forming great wet circles on our t-shirts. And then, at last, it was dinnertime.

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My mother made her tomato rolls with white bread — the kind that is crusty on the outside and fluffy on the inside. She cut the rolls lengthwise in thirds rather than in halves, and then spread each layer thickly with butter. Over the butter she laid slices of tomato. Then, as a last touch, she seasoned the tomato with salt. (Never pepper. Children hate pepper.)

These were the days before Australians of Anglosaxon heritage knew about things like basil or coriander, ricotta or feta. We had never eaten avocado or garlic or extra virgin olive oil. We didn’t know of the existence of focaccia bread or ciabatta or sourdough. Most people ate margarine in preference to butter, thinking it was a healthier option. And we ate salt with everything — we lived in a hot climate, after all; we needed to replace the salt we’d sweated out during the day. So a tomato roll was just what it sounded like: a tomato roll. Nothing more, nothing less.

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It’s almost forty years since I ate one of my mother’s tomato rolls, and yet when I read Elizabeth Jane Howard’s words above about the curative powers of a tomato sandwich, I was instantly transported back to those simple summer meals my mother made us.

Bread. Butter. Tomatoes. Salt. I still think of this particular combination of food as the ultimate luxury, the greatest treat.

And as a symbol of my mother’s love.

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From one year to the next

Other people’s words about … loneliness

She had told herself more than once not to call it loneliness, since it wasn’t any different from one year to the next, it was just how her body felt, like hungry or tired, except it was always there, always the same. Now and again she had distracted herself from it for a while. And it always came back and felt worse.

from ‘Lila
by Marilynne Robinson

A couple of years ago, I began to experience recurrent bouts of unexplained nausea. The waves of sickness came every three or four weeks, and left me feeling depleted and frustrated. My symptoms of illness were made more difficult by the fear that accompanied them: a fear that I’ve touched on here and here, and will no doubt touch on again.

In her memoir Slipstream, Elizabeth Jane Howard mentions in passing a phase in her life, when she was a young woman, during which she experienced something like this.

In those days, I had bouts of being unable to eat that sometimes lasted for weeks. This seemed to be one of them. I was very tired from my illness, but encouragement to build up my strength by these kindly people was of no avail. I’d sit before an immense juicy steak and delicious salad, trying to swallow the first pieces of meat, my stomach heaving, and wanting to cry from embarrassment. ‘I’m so sorry. I don’t eat much,’ I had to say.

It was my mother who, just recently, introduced me to Slipstream. When I read the passage above, I wished that Howard was still alive, so that I could write to her and thank her for these words. It helps, when you are going through difficult times, or when you are experiencing something troubling and bewildering for which you yourself have no words, to read someone else’s words on the same thing. Here is Howard again:

I had no energy for writing, I didn’t like living alone, and I could hardly drag myself to the office every other week to earn the six pounds that barely kept the wolf from the door … I remember the misery of sitting in restaurants faced with enormous menus and finally asking for something like a piece of cold chicken only some of which I managed to force down.

During the worst phase of my own bouts of nausea, I felt my life began to fold in on itself. Although I wasn’t ill all the time — although there were days and weeks when I felt well: days, even, when I felt as though I’d never feel sick again — those bouts took a toll on me. I called in sick at work frequently, and worried about the consequences. (Would I be put on a performance plan? Would I get sacked? What if I couldn’t hold my job down anymore? How would I live with myself if I couldn’t make a living?) I worried about my social life. (What if I lost all my friends because I kept cancelling on them at the last moment? What if they didn’t believe me when I told them I was sick? What if they thought I was just neurotic, or antisocial?) And I fretted about people in my family, whom I wanted to see more frequently than I did. (Did they know I still loved them? Did my absence hurt them? Were they, too, judging me?) I began to feel disabled on all fronts — by my symptoms of illness, by my fear of those symptoms, and by my shame about my fear.

The sickness happens less often now, I am glad to say, though it still comes, accompanied by symptoms that feel worse than they sound: fatigue, headaches, nausea, heavy eyes, weak limbs. I am as yet to find a cause. In the meantime, when I do experience bouts of illness like this, I try not to let myself feel the way I felt during that worst phase. Isolated is one word that comes to mind to describe the way I felt. Lonely is another.

And here is where reading helps. Reading Howard’s words I feel a sense of kinship. The kinship makes me reflect, as I so often do, that writing is an act of sharing, and that sometimes — sometimes — reading can feel like a defence against loneliness.

It wasn’t until I read Toni Bernhard’s How to Live Well with Chronic Pain and Illness that it finally became clear to me that illness — whether it’s serious or mild, whether it’s intermittent or constant, whether it’s accompanied by fear or not — is, inherently, lonely. Experienced long-term, it is all the more so. Bernhard, who lives with a fatigue-related chronic illness that keeps her largely bedridden, is illuminating on the theme. She writes:

In these moments when I accept that some of the people I know may never understand what life with chronic illness is like for me, I’m able to let go of the painful longing and fruitless desire for them to behave as I want them to. It’s like putting down a heavy load because I’m finally giving up a fight I cannot win. This gives rise to equanimity –- that calm sense of peace and well-being with my life as it is, whether others understand it or not.

Read those sentences again: Some of the people I know may never understand. Those words go to the heart of loneliness. So do these: painful longing. Fruitless desire. Illness should not entail any of these kinds of feelings, but it does. It is a very lonely experience. (If you are experiencing illness-related loneliness, I highly recommend Bernhard’s book. Her words are both wise and comforting. They may even impart a sense of kinship.)

The main character in Marilynne Robinson’s book, from which I quoted at the top of this post, is lonely in another way. Lila’s loneliness is the result of poverty and an extreme lack of love in her upbringing, and her experience of it is utterly embodied. I’ve never heard loneliness described this way before, but I find the interpretation as enlightening as Bernhard’s. Loneliness, Robinson is saying, is a physical — a visceral — thing. It is as much a part of living as hunger and fatigue; it is with us from our first breath to our last. Like illness, it is a part of the cycle of being alive in this world.

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Perhaps the difficulty we have with loneliness, then, is not so much with its actual presence, nor with its cause — whatever that may be — as it is with the way we experience it and interpret it. I find this thought strangely consoling.

Is it possible to feel consolation and loneliness simultaneously? Probably — but it’s much harder.

Note:
There are a number of bloggers who write about their experience of living with serious or long-term illness. Here is where the blogging community comes into its own! Two bloggers whose frank, clear-sighted words on illness I particularly admire are Elana Amsterdam of Elana’s Pantry, who lives with Multiple Sclerosis and writes about managing her illness through a grain-free diet and a low-stress lifestyle, and Ali Feller from Ali on the Run, a passionate runner who blogs about living (and running) with Crohn’s Disease.

Acknowledgments

Other people’s words about … gratitude

Andrew Wylie and Sarah Chalfant continued to treat me as a writer until eventually I became one again.

from the ‘Acknowledgments’ section
in ‘Aftermath
by Rachel Cusk

There is a ritual I always follow when I first pick up a new book to read. Before I begin to read it, I flick to the end to see how many pages it is. I like to know the length of the book I’m about to read, so that as I’m reading it, I know exactly how far I am through. It’s a way of measuring the pace of the story, perhaps: a way, too, of pacing myself and measuring my mood as I read. Sometimes, also, I admit, it’s a way of determining whether I’ll keep reading the book to its end. (If I’m bored and I’m not even a third of the way through, I stop. Life is so short and the library has so many books, it’s not worth spending time struggling through one I’m not enjoying!)

Once I’ve done that, I like to read the ‘About the Author’ section. I look at the author photo and check out their biography. Are they an academic? Is this their first book? How old are they? What do they like to reveal about themselves? Do they stick solely to their writing history, or do they mention their family, their loved ones, their hobbies? Do they write full-time, or do they have another job that pays for the privilege of writing? Maybe reading about the author is a way of trying to find some kind of connection. Reading is better, in my experience, when you feel connected in some ways — to the characters, certainly, but also, at least for me, to the author.

Next, I look at the list of the author’s previous publications, near the front of the book. I look at the copyright page, to see the date of publication. And then, finally, I read the acknowledgments. I love to see who the author thanks in their acknowledgments, and in what order, and whether their acknowledgments are formal or perfunctory (or both), or informal and long-winded and meandering. Sometimes there is a hint of how the author felt as they wrote the book — whether the writing of it was a joyful process or whether they were filled with troubles and doubt as they wrote.

There is an art to writing good acknowledgments, I think. If the author says too much — gushing about how wonderful the writing process was, or moaning about how difficult it became — they embarrass themselves. If the author says too little, the words are meaningless. Sometimes — unfairly, no doubt — I am so swayed by my reaction to the acknowledgments that I have already decided whether I love or hate the book before I’ve even read the book itself.

Rachel Cusk’s acknowledgments for Aftermath are of average length; the writing of them is neither perfunctory nor over the top. There is no hint of whining in them, and yet the sentence I’ve quoted above hints — subtly, I think, and poignantly — at serious writerly doubt. Once I’d read that sentence, I was determined to read the book all the way through, no matter how difficult I found it. Cusk, in those few words, had won me over.

They continued to treat me as a writer until eventually I became one again. That might be one of the most grateful sentences I’ve ever read from a writer. Gratitude, graciousness, humility — these are qualities I admire in others and aspire to myself. A writer who can write a sentence like that is, simply, the kind of writer whose books I want to read.

Note:
Some readers may remember that I published an earlier version of this post by mistake, before I had finished writing it — a version I subsequently (and very hastily) deleted when I realised my mistake! This is the finished version, finally …