Snatched phrases: last pages

‘I will love a book forever
if the final pages mark my subconscious.’

From ‘The Museum of Words’
by Georgia Blain

My mother and sister and I (all inveterate readers) were talking the other day about those devastatingly disappointing books you read all the way through, from start to finish, without skipping a paragraph, because you are in the grip of a conviction that you’ll get to the end and suddenly — suddenly — all this time you’ve spent reading it, feeling love and hate for the book and its author in equal measure, will be justified.

You know those books I mean? I say ‘devastatingly disappointing’ because I am describing the kind of book that, when you do finally get to the end, you realise your time wasn’t justified at all. You realise that, on the contrary, the whole time you spent reading it was, in your opinion at least, a waste of time.

You know those kinds of books?

That’s why I love Georgia Blain’s words above.

So I thought I would make a list of books whose last pages have, as Blain so delightfully puts it, marked my [own] subconscious forever. Here they are, in no particular order:

Rebecca, by Daphne du Maurier
Prep, by Cutis Sittenfeld
The Children’s Book, by AS Byatt
A Map of the World, by Jane Hamilton
The Smart One, by Jennifer Close
Me and Mr Booker, by Cory Taylor
Wasted, by Marya Hornbacher
Tell Me I’m Here, by Anne Deveson (Georgia Blain’s mother).

And, yes, the book I’ve quoted today, Museum of Words, by Georgia Blain.

What about you?

Snatched phrases on … birds

‘It was eluding her again: the essence of bird.’

From ‘Nest
by Inga Simpson

I love this sentence. Jen, the protagonist of Nest, is an artist, and in this passage she is trying to draw a fairy wren.

I’m not an artist; in fact, I’m spectacularly untalented when it comes to drawing. But I know the feeling of trying to capture — in a photograph, perhaps, or in conversation, or in writing — what you see when you see a bird. To say that a bird flies, or that it sings, or that it is beautiful is true, but those descriptions come nowhere near to capturing what a bird really is, or how it makes you feel.

The essence of bird. Perhaps it will always elude me, as it does Jen. Perhaps that’s part of the fascination.

From my world to yours … and beyond

Other people’s words about … the blogosphere

I don’t know if I’ll make it to eight years of blogging. Probably not, to be honest. And that’s OK. Because the time I’ve spent in this corner of the internet has changed my life in the most unexpected and powerful way. That has nothing to do with me and everything to do with you, so THANK YOU.

From ‘ Reflections on 7 years of blogging
by Ali Feller of
Ali on the Run blog

It’s becoming quite a trend, isn’t it? Quitting blog writing. Decrying the blogosphere and what it has become. I’m saddened to find that some of my favourite bloggers, quoted in the passages dotted throughout this post, are pulling the plug on their blogging.

But I’m not about to do the same.

But it’s time friends. It’s time to pull the plug on my blog. I’ve been putting off this decision and this post for a very long time.

From ‘ So long, farewell
by Christine of
Love Life Surf blog

I’ve talked before about why I love blogging and the blogosphere. Many of the bloggers now leaving the blogosphere complain about how disingenuous bloggers are becoming: how curated so many blogs are; how inauthentic the bloggers’ voices have become; how blogs now function, simply, as the latest tool for a person who wants to build a portfolio in order to make a living through social media.

Honestly? In some ways, I agree. I wince when I realise I am wading through yet another post on a cooking blog filled with not one, not two, not five, but ten (or more) shots of the same dish, artfully presented amongst scrunched-up tea towels, autumnal leaves and battered enamel saucepans. And I wince even more when I find myself reading yet another post by a blogger announcing breathily, Guess what? Exciting news! I got a publishing contract!

I’m almost nostalgic for the early days of blogging (except I don’t really do nostalgia). It was enormous fun, but also an enormous consumer of time. I loved it at the beginning but foresaw early on many of the problems now associated with the internet, and now I’m happier doing it all in private. I always had faith that the appeal of printed books, face-to-face conversations, trips to the cinema, walking, swimming and camera-less experiences would never fade for me and now I am back where I was before I started blogging in 2005 … I’m writing a new book. I’ve moved on from writing about domesticity. I just live and breathe it, like I always did.

From ‘ As I live and breathe
by Jane Brocket of
yarnstorm press blog

But there’s still room in the blogosphere for sincerity. For vitality. For authenticity. There is. You just have to look a little harder to find it.

Some bloggers find joy in the blogging community; recently, for example, I read a lovely post by children’s author and fellow blogger Cynthia Reyes about bloggers helping bloggers. Her post would make any blogger think twice about stopping blogging.

Me? I blog for many reasons. I see blogging as a way of improving my writing: of learning to express myself better, learning to reach out to people, somehow, with my words. I see blogging as a form of connection to the rest of the world — if I show you my world, perhaps you will show me yours. I see it as a substitute for journal writing: a substitute that is better than the original because, due to the public nature of the domain in which my blog appears, there is discipline involved in the writing of each post, and discretion. And I see blogging, as I’ve said before, as a way of reaching towards beauty, wherever I can find it.

All of those are selfish reasons for blogging, I guess. But the corollary of writing a blog is spending time reading other people’s blogs: listening to what other bloggers have to say, seeing what they see, understanding what they believe (even if I don’t agree with them). Reading of any kind, no matter how enjoyable an activity it is, is inherently an unselfish act. It forces you to listen to other people. It can, if you let it, open your mind.

I think blogging offers a richer, more thoughtful, more all-compassing vehicle for expression than other forms of social media like, for example, Twitter (where pithiness is valued over thoughtfulness) and Instagram (where aesthetics are valued over normality). And for that reason alone, I will continue to participate in, and love, the blogosphere.

What about you? What do you think about the state of blogging today?

This moment, now

Other people’s words about … the everyday

The sunlit room is silent and there rises a kind of aural transparency through which a deeper background of sound emerges, intricately embroidered like an ocean bed seen through clear water: the sound of passing cars outside, of dogs barking and the distant keening of gulls, of fragments of conversation from the pavements below and music playing somewhere, of phones ringing, pots and pans clattering in a faraway restaurant kitchen, babies crying, workmen faintly hammering, of footsteps, of people breathing, and beneath it all a kind of pulse, the very heartbeat and hydraulics of the day.

From ‘Aftermath’
by Rachel Cusk

I’ve been saving this quote for a while. My copy of Aftermath came from the library, and so I can’t look the quote up again and remind myself of the context; but from memory, Cusk, who was at the time living and working in the British seaside town of Brighton, is in this passage writing of a visit to the dentist.

It’s easy to focus our attention on the beautiful things we see and hear around us. (I do it in my posts on this blog all the time.) But I love the way that Cusk does the opposite here: she takes an everyday moment — not a remarkable one, not even a particularly pleasant one — and describes it so vividly that the moment shines; it sings.

Sometimes, as I go about my own day — at moments when I am particularly busy, or grumpy, or stressed, or anxious — I make myself stop. I glance around; I tilt my head to one side to listen; I sniff the air. I make myself take everything in, just for that moment. It’s a way of stepping back, I suppose: of absorbing rather than participating. However unremarkable my surrounds at that moment, the act of stepping back from them and observing them creates a stillness inside of me.

That stillness is useful. It reminds me that I’m alive.

Look up from your work
every now and then.
Take a step back.

I suppose you could call this a form of anxiety management. I suppose you could say that I am teaching myself to be present, or trying to practise mindfulness. But I’m not consciously striving to do any of these things: the act feels more instinctive than that. It feels, simply, as though it is an important — no, an essential — thing to do, every now and then.

And that’s what Cusk does in this passage, I think: she grabs a very ordinary moment, she witnesses it and she breathes life (a heartbeat, a kind of pulse) into it.

And somehow, along the way, with the words she uses, she breathes magic into her day.

Ubiquitous

Other people’s words about … fatigue

My legs, when I got up to go to the toilet or kitchen, felt light and shaky, far away from the rest of me …

Even speaking was too much. My words seemed pinned to the bottom of my jaw, and came out compressed and monosyllabic. I don’t remember crying much, but there was a dampness, as if moisture were constantly seeping through my skin, and sinking. As if everything inside me had become viscous, liquid, beholden to gravity and I was draining always to the lowest point; the soles of my feet, my buttocks, my back.

from ‘Anaesthesia’
by Kate Cole-Adams

The year I turned forty, I caught glandular fever (known by my North American readers as mononucleosis). It was a pretty typical case, I think: for the next year or so, I caught colds and viruses and coughs at the drop of a hat, and meanwhile I experienced a tiredness that — like the tiredness Kate Cole-Adams describes in the passage above, in a depiction of her own experience of adult-onset glandular fever — was beyond any kind of tiredness I had ever experienced before. It wasn’t tiredness at all, really: it was lethargy, lassitude, limpness, listlessness, languor — all those ‘L’ words, combined with a clammy, vaguely feverish kind of exhaustion. My limbs felt heavy and my head felt swirly and the floor seemed spongy beneath my feet.

Though the fatigue and exhaustion eventually, two or so years down the track, dissipated, I have found that even now, years later, I still get the occasional, sudden bout of glandular-fever-type fatigue. It always happens when I’m least expecting it and lasts for a few days, sometimes a week or more. If I think about it deeply enough, I am usually able to explain it by pointing to a higher than normal level of stress in my life.

I had one of those bouts again just recently. Serendipitously, I had a few days off between shifts at work, and so I decided to spend some time away in that place I love, Aldinga. I was sapped of energy and appetite: too tired to walk on the beach or catch up with family and friends as I’d hoped; too tired, even, to write or to bake. Instead, I lay on a sofa in a pool of sun, and read, and dozed, and waited for the fatigue to pass. I knew that it would. I just didn’t know when. (Actually, I still don’t know. As I write this post, a couple of weeks down the track, I’m still experiencing fatigue and unwellness. But it will pass, as all things do.)

The first day that I felt even vaguely up to it, I went for a wander in the Aldinga Scrub. I was still very tired, and so I took the walk slowly, following the path marked out by signposts for tourists, which takes you on a small loop: first south, parallel with the coast, then east towards the hills, then back northwards and west to the starting point. (Its official name is the Coral Lichen Circuit, and you can find more out about it here.)

It was late spring: whistlers burbled (mostly) unseen in the branches. The yellow months had passed, and now it was the time for blues and purples and pinks and whites. And everywhere that I walked there were twining fringe lilies growing. As the photos in this post illustrate, I found them peeking through the leaves and branches and stalks and branches of sea box bushes, and rock ferns, and mallee pea-bushes, and muntries, and sheoaks, and grass trees, just to name a few.

They are common native flowers in South Australia, I gather — neither delicate nor rare. And yet each time I saw one on my walk that day, I felt a little thrust of joy at their very ubiquity. It was partly to do with the fact that I was able to identify them; partly to do with the fact that I’d reached a point in the ebb and flow of my own exhaustion where I felt I had enough stamina to go on another of those wanders, however gentle that wander was; and partly, simply, to do with the lovely prettiness of the lilies themselves.

Perhaps the fringe lilies were a symbol for me that day, growing and twining — despite their appearance of delicate fragility — in amongst all the other greenery. Thriving, despite everything.

Or perhaps symbols are unnecessary here. Perhaps it was enough just to see them and enjoy them exactly for what they were.

Note:
I recently found a wonderful resource for anyone who is interested in learning more about the Aldinga Scrub. It is the Flickr account of the Friends of the Aldinga Scrub, which has hundreds of wonderful photos taken in the scrub, not only capturing but also identifying the native flora, fauna and fungi. Check it out here.

The standstill

Other people’s words about … writing

I knew I was writing a book about anaesthesia, but I didn’t know why. Nor did I know why it mattered to me that I didn’t know. Why does anyone do anything? What I was struggling with … was not simply why I was writing (and consequently, I felt, what I was really writing about), but who was doing the writing. There seemed to me two ‘me’s — each with their own agendas and itineraries and neither able or prepared to communicate with the other. Everything one wrote, the other rejected. One I will call the journalist — a pragmatic procedural self, this ‘me’ positioning myself as the objective observer reporting on what I found in my travels. The other I will call the dreamer. Not in the romantic sense, but the dreamer as fool, blundering around, kicking up fragments of a different story.

from ‘Anaesthesia’
by Kate Cole-Adams

I’ve been writing the same book for the last seven years, and that seems to me, in today’s world of electronic publishing and social media, a very long time. It is a long time. I’m a realist: I know that there are no guarantees I’ll ever finish it; and I know, too, that even if I do, there no guarantees it will get published. Still, for whatever reason, I find I can’t write any faster than I do.

So I was encouraged when I read that it took Kate Cole-Adams ten years or so to research, write and publish her non-fiction book Anaesthesia, from which I’ve quoted above. It’s a very fine book, worth taking ten years to write, I think. I found myself marking out several passages as I read it — passages I returned to over and over, and thought about using for one or more of my blog posts. So the quote I’ve used today may be just the first: there will be more to come, I hope.

Everything one [part of me] wrote, the other rejected. It occurred to me when I read these words that, over and above her own personal experience of her self, which Anaesthesia in part explores, what Cole-Adams is really describing in this passage is writer’s block. People think of writer’s block as being unable to write, but I don’t think that’s what it is, not really. In my experience it’s more a case of writing and writing, but hating everything that you write. You write, you write, you delete, you delete. Eventually, you come to a writing standstill.

At a standstill —
or poised to soar?

I like Cole-Adams’s image of herself, the writer, as dreamer and fool, blundering around, kicking up fragments of a different story. For me, too, that’s what writing often seems to be about. And sometimes — just sometimes — when you allow this to happen, when you allow the judgmental, procedural part of yourself to step back from the stage, it seems okay that this is how it feels.

At moments like this, it seems okay, too, to be taking your time to write what you write. Five years. Seven years. Nine years. Ten. It’s all part of the blundering, right?