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.

Differentiation

Other people’s words about … wild animals

As Paul and I were cresting the last hill, as I was squinting into the darkening woods to make out the path, a couple of deer lifted their heads at once and differentiated themselves from the trees.

We stared at them, and they at us, for a full thirty seconds without moving. They multiplied as we looked at them. There were three at first, then there were four, then there were five. They were the exact color of the bark and leaves –- gray brown –- but the skin around their eyes was red. I felt the breeze on their backs lift the braid from my chest and set it down over my shoulder.

‘They’re going to get us,’ Paul whispered. He reached for my hand.

‘They’re a herd,’ I reminded him. ‘They’re afraid of us.’

Two more appeared. Paul shivered.

From ‘History of Wolves
by Emily Fridlund

There are many places I like to go bushwalking in, but one of my favourites is the Aldinga Scrub. When I walk there, particularly at certain times of the day, I am always conscious that I might encounter a roo or too. There are traces of them throughout the Scrub.

Sometimes a kangaroo appears before me in plain sight — in a clearing in a patch of sunlight, enjoying the last rays of the sun, joey in pouch.

But sometimes there are roos in front of me all the time, without my even realising it. I don’t know what alerts me to them then. It might be the faintest rustle in the leaves around me, or a slight movement — an ear-twitch, perhaps. Sometimes a sense comes over me, simply: a dawning awareness that I am not alone any more, that I am being watched, and regarded, and assessed.

Kangaroos are not naturally aggressive towards humans, as far as I know, or not during encounters like this. But still, like all wild animals, they are protective of each other and of their young. And so, when I come across a roo or two (or more) in this way — when they differentiate themselves from the bushes around them, as Linda, the narrator in the passage above, beautifully puts it — I make sure to stop and take one or two steps back. I let the kangaroos know I’m not a threat. We regard each other a while, creature to creature, acknowledging each other. It’s not fear I feel then, like Paul, the little boy in the quote above: it’s respect.

And then I move on, leaving them to their world, re-entering my own.

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.

On asides

Other people’s words about … other people

Some writers describe nature beautifully; some express their characters’ inner lives with great insight and pathos; some describe people pithily. I came across two writers of the latter kind recently.

How’s the following for a description of someone, for example?

He had the countenance of someone who’d weathered a thousand tiny insults; they were etched into the lines of his forehead and cheeks. He had the drawn, inelastic face of either a serious smoker (with no time for the inconvenience of food) or a fastidious vegan whose pursuit of a healthy lifestyle had left him on the verge of sickness.

from ‘A Smell of Burning: The Story of Epilepsy
by Colin Grant
(p. 2)

Colin Grant’s book is a memoir about life with a brother who lived with, and ultimately died from, epilepsy. It’s also a history of epilepsy’s treatment (both cultural and medical) over the last two millennia. But it was Grant’s descriptions of people which really held me.

He held disgust in his nose, a magnificent diaphanous beak with thread-like blue veins and tobacco stains on the nostril hair and dividing septum, usually slightly cocked and in a permanent sneer.
(p. 16)

After I’d finished reading A Smell of Burning, I moved on (in a completely non-sequitur fashion) to Angela Carter. I’d never read any of her novels before, though people had told me over and over that I should. I’m still only partway through The Magic Toyshop, but already, I’m relishing Carter’s descriptions of the characters who populate her story.

Here she is on five-year-old Victoria:

Victoria had no sense of guilt. She had no sense at all. She was a round, golden pigeon who cooed. She rolled in the sun and tore butterflies into little pieces when she could catch them.
(p. 6)

And here’s her description of twelve-year-old Jonathan:

Jonathon ate like a blind force of nature, clearing through mounds of food like a tank through the side of a house. He ate until there was no more to eat; then stopped, put knife and fork or spoon and fork together neatly, wiped his mouth with his handkerchief and went away to make model boats.
(p. 4)

Meanwhile, when Melanie, the fifteen-year-old protagonist of Carter’s story, first meets Finn, she watches him from afar before he notices her. When she does capture his attention, he fixes his gaze upon her before speaking:

His eyes were a curious grey green. His Atlantic-coloured regard went over Melanie like a wave; she submerged in it. She would have been soaked if it had been water.
(p. 38)

These are snatched phrases, I guess, more than anything. But that’s the thing about the experience of reading: it’s not just about plot, or emotion, or catharsis. It’s about the little things, too: the words and the phrases; the asides and the diversions. The sentences I’ve quoted above aptly capture the essence of the people they’re depicting: they made me smile in recognition (and wry admiration) and then re-read them, just in case I didn’t miss anything. And, like the characters they’re describing, they stayed in my mind long after I’d put the books aside to get on with the business of my day.

They stayed in my mind. I can think of no greater praise for someone’s ability to write — and no greater reason to keep on reading — than that.

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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Snatched phrases (on the sea)

‘[I] stare at the water.
It’s shot with moon, silver leaking all over the surface.’

from ‘Words in Deep Blue
by Cath Crowley

Okay, so I don’t have any photos of the sea in moonlight, because I have as yet to figure out night-time photography.

But the words above reminded me of one of the things I love about the sea, and one of the reasons I so frequently post other people’s words about it, accompanied by my own photos: I love how the sea changes colour, depending on the season, the temperature, the weather, the time of day, the tide. The colours you see below — blue, green, pewter, turquoise, gold, silver — are just some of the many colours of the sea.

You may recognise some of these photos from earlier posts on this blog. Forgive the repetitiveness. That is one of the things about the ocean, I think: the wonder it instils in you, each time you see it, each time you visit it. It repeats itself, over and over.

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 …