August 20, 2023 in Memory, Music | Permalink | Comments (0)
Crossing from one year to the next....
This year has been one of separations and endings. In fact, more than ever in my life, I've made many breaks – but without having to do so, and at my own speed. As I am someone who has, many times, suddenly leapt or been driven from one place to another, I'm experiencing this is very different: to plan, to choose, step by step, feels like... well, a calmer, more conscious kind of life than I have lived, for most of sixty-six years.
Retiring from Newcastle University became entangled with an internal, then increasingly external, change in my relationship to organizations, schools, committees – community groups, support networks....
I realized I just wasn't interested in those things any more, that they had become mostly burdens. Which is unexpected as, for a number of decades (since the early 70s, really), I have alternated between trying to make things happen and, sometimes unhappily, giving up on making things happen. It's been a fairly basic pattern for me, entangled with wanting to be seen and heard (all that youngest-child stuff, amplified by the quieter social spaces of the last twenty years), plus wanting certain things to be understood differently, wanting to transform or expand or be a part of certain conversations – and then, as an analyst, getting entangled in professional conversations about taking care of people, of groups, of the world.
I do still tend to be project-focused, rather than any freer kind of being, which I realize has its limitations, even its hungry-ghost aspect. But there are vastly fewer projects now, and each is connected with far fewer people and practically no time anxieties. So, to go to an image from the first pages of Mirrlees' Lud-in-the-Mist, I spend far less time among those people panicking and fleeing the moon, as it looms above them....
I left a lot of committees and projects – including practically all the things I've joined in the past five years that were tied to my new persona, my third life and second career, as a Jungian analyst. I found myself habitually doing things like those I did as an academic – I was on the research committee of the Zürich institute, and the alumni board; helped Barbara with the internship project, wrote forewords and afterwords, taught a number of online classes (Zürich, Los Angeles, even far-away San Francisco!) – and of course helped manage the past three years of our online lecture series and videos; and the gay book group, plus showing them films under lockdown, and the online men's group, then meeting about the local men's group that never happened...
Leaving all those things, even when they were things or people I liked, ended up being a relief. A sense of quiet – even of great quiet, like the music at the beginning of act 3 of Britten's Midsummer: the forest is always there, mysterious and quiet, and if only the lovers would shut up they might be able to hear it....
•••
So, it's the change of the year: and a clear sense that all those things are done, and done.
It leaves a slightly strange vacuum: one I wish I'd experienced more often in my life – so many projects, so many things I wanted to do....
In this vacuum, it feels as though doing things has been one of my life's problems: why things were not finished, why the sadness or guilt of unfinished projects ended up coloring too many weeks, months, years, out of my life. Which now seems frankly silly: nobody insisted that I do these things – I can now hear, again, something as simple, as lucid, as Susan McClary telling me in the 90s: you are doing too many conferences and committees, stop, focus on real work.
That now seems obvious.
And – you may be pleased to hear – it also now seems easy, even for me.
No longer fleeing that menacing full moon, as it rolls across the sky...
•••
Listening to big choral works by Schütz: which links to the me of 1974 – nearly fifty years! – dazzled by the university's music library, those glorious collected works... and so joy in books, and music and history, and German-ness and serious dignity; but also in the sensual explosions that happened in the recordings of those works. As well as playing seventeenth- and twentieth-century pieces in the practice rooms, late at night.
•••
So, after getting rid of so many things – what is left?
The first book, then the second. (Maybe a third, we'll see.)
Analysands. I see about twenty people at the moment, but only ten or twelve in a given week (some of these relationships are rather itinerant, which is okay). I enjoy this work: the balance of the right numbers and timing is hard to hold on to, but I manage.
Some teaching. Not much, but some – mostly Jungian stuff, mostly online.
Aside from those, I still have a couple of Newcastle postgraduates; though I don't mind taking on more, I suspect the department will conserve and focus, both in relation to money and to keeping current staff working. (Our crazed, greedy Tory government has torn up a lot of pre-university music exams and teaching; that will all come back some day, but the next decade may leave music teachers and institutions struggling across the country).
•••
As the Hollywood joke goes: "But enough about me, let's talk about you. What do you think of me?"....
•••
Things are quieter. I'm a bit more like good old Montaigne (well, I wish), or like the old magician collecting herbs in the woods that I envisioned at the beginning of this pandemic.
Speaking of which – I've still never had COVID, that I know of, and would love to keep it that way...
In the larger frame of 2022, COVID, and the way everyone else seems to think of it – including Saturday Night Live – I have to confess, I don't see 2022 as such a disaster. Sure, COVID (but that was already familiar, and hasn't really gotten worse, it just hasn't gotten much better – so that feels kind of like the years 1984 to 1995 under AIDS). The Ukraine war is dangerous but not new – I'm still surprised by people who say, why don't you care about Yemen! – rather obviously, Russia has nuclear weapons that most of the world doesn't. And that is scary. But that cliff edge is something we've stood near several times in past decades. I didn't experience this year as seriously disorienting or fearful – perhaps that is just me. I always seem to come back to: it's not as though we haven't seem times that were just as bad.
Perhaps a big part of my reaction is based on my emotional shift towards being, well, less concerned – about everything – which follows processes that have been happening for maybe thirteen years now, since the 2009 stroke, since visiting the Zürich institute, since – well, since a kind of, perhaps implicit, decision that Things Needed To Change.
But this hasn't been the Bay of Pigs, or 9/11, or Prague 1968. Or the 2008 crash, or the election of Trump, or any of a mass of other dark things from past decades. Admittedly, events have happened in a more open cultural space, so we see more of them. And you can think of hyperobjects, and the sense that disasters these days seem further beyond us than earlier perceived disasters.
But I continue to feel calm....
•••
So, okay. Let's be traditional and think of 2023 – not with resolutions, exactly, but with things I want to do.
Continue writing, finish the larger stuff – while the (vastly fewer) small projects (one overview chapter, and the sprawling and disjointed blog entry about Barcelona that has meandered across the last three years, which should really get done) can be just polished off.
Visit Barcelona, and focus: should I, can I, move there? What do I do with my physical life, my books, how do I find a new place to live – with how many changes, accepted losses or benefits?... but that project can unfold over time.
Make, finally, a web page, with a new home for this blog, and a place to put it all together – work, writings, past. Something that looks decent enough... with a designer? I'll keep looking.
Clear out much of what I own, and get accustomed to walking away from things and projects without looking back.
Stay open to unexpected discussions that cross my mind, about time and experience and memory and death... and write them out, return to them. Which should be helped by the quieter spaces around me.
Manage the few project/event things on the 2023 calendar (the conference panel, the co-taught seminar, the handful of people asking for professional advice) without letting them get overgrown or entangled with similar things.
Relax a bit, walk more, listen to some of the music, read some of the books, that cover the walls of my life. Cook a bit...
Doesn't sound impossible. Not even improbable. Wouldn't be too shabby....
•••
(There are nights when I see the rooms and hallways of my life in Barcelona. They are pleasant and quiet – not bright but comfortable, book-lined. And, even if I never get there – those are good times....)
June 5 is HIV Long-Term Survivors Day – it's actually a fairly recent phenomenon, with varied definitions. It's 5 June because that's when an article talking about five cases first appeared in the press, so – as in the work I'm writing (or supposed to be writing) now, it's not about the existence of the virus (they've found it in remains from the early 20th century) but about the date it was recognized in the world, so, culture. And cultural psychology.
And this year is the fortieth year since that article came out. So.
***
It's completely normal in PWA groups to compete, somewhat indirectly, over length of time and doctors and when and how bad, and famous people you've hung around with at benefits, etc. In the Newcastle groups I often win, quite unfairly of course – it's about the timing of when it appears in some cities rather than others; if I lived in London I'd probably have more arguments. It's kind of like "so you were at Okinawa, well I was at D-Day" arguments. I'm sure people will be doing this in nursing homes for the next fifty years, at least.
The loooooong stretch of our Patient Participation Team (PPT) in Newcastle, talking to medical students about our life experiences since early 2004, means that I've told all my stories many, many times. The people who've spoken a lot in the group look at each other when certain questions come from the wide-eyed young students, and say, oh, Robert has a story about that, or let's tell you how Claire was told her status. Or, that one's for Paul, you have to tell that story now.
Of course there is a tendency for such retelling to fix things in place, restructure them, and sometimes alter them... which is unavoidable really. Sometimes it's like remembering being at D-Day for someone who really showed up the next day. Or Woodstock for someone who didn't get there in time to see Hendrix.
I actually wrote about this in one of my favorite published things, the one about Reid Beitrusten, which I re-posted recently – Writing a Story for You – and now, as you're no doubt aware, you are in the position of sitting in a dressing room with an aging actress who is looking at a picture and saying, oh, the Barrymores were lovely to me, absolutely lovely.
It's the nature of memory – especially when it's altered/amplified by the fear of death (see the books by Becker and his followers – the fear of death is a basic psychological force, it causes people to raise monuments and publish books and found corporations and hold anniversary dinners – everyone wants to be remembered, somehow). We need to tell our stories, in the hope that they will be remembered....
***
But okay this garrulous actress should pause her musings and go back to the first point here, which was to outline My Stats: the basic facts of when I got into the HIV game.
I started getting laid around 1975; in the summer of 1979, just a few weeks following the Harvey Milk riots (about which I knew nothing at the time), I flew from Washington, DC (with two oversized bags, and my mother crying a lot at the airport) to San Francisco. I did that because I'd screwed up my degree at U.Va. (a four-year course finished in three years, but with terrible grades – because I hadn't gotten in to Princeton my life was clearly already over, a waste of time for everybody; and a couple of years in Washington merely proved I wasn't getting anywhere; and I'd read Tales of the City with a group of friends at that wonderful café/bookstore, and I believed Armistead when he told me that San Francisco was Different).
Wow okay this is definitely garrulous, and it's all prequel, so. Let's speed up and select.
In the winters of 1981 and 1982, I'll have obscure flu-like illnesses that suggest seroconversion. I remember bumping into Reid on a streetcar while going up to Parnassus to UCSF, both of us feeling confusingly ill, including STDs, and talking about feeling very... uneasy. He looks haunted... I think I do, too.
In the summer of 1983 Reid falls very, horribly, ill, in the now-famous Ward 5A. I come visit him occasionally, not really knowing what to do – he tells me I'm wasting my time screwing around in San Francisco, I should go get a PhD somewhere. I try to apply to Berkeley and UCLA; a week or so after he dies, on 2 December 1983, I get an acceptance letter to UCLA. They know my undergraduate degree was crap, but I've been writing program notes and singing in groups, and they decide to gamble.
Yeah, too much detail, again.
In the rising excitement of going to UCLA, there is also the rapidly increasing darkness of AIDS; we know more by the month, and also less. It hits San Francisco like a ton of bricks – obviously David France's recent book focuses on New York's ACT-UP, and he's trying really hard to not offend anybody, but he is annoying flip about a 'few cases' in SF. There were a lot of cases, it was a smaller and more focused city – even though the Village had a certain social containment it always seemed as though AIDS in New York, or London or Paris, was a thing happening across people who were distributed among many networks, nodes, structures; in San Francisco, with an estimated 100,000 LGBTQ people among the city population of 600,000, it was absolutely... well.
It hit us like a ton of bricks.
Theater Rhinoceros allowed Leleand Moss, a very New York actor/director, to put together a workshop of writers and performers that became The AIDS Show, which ran for, I think, ten days in August 1984. I was one of the ten writers and actors – I wrote five 'Party' scenes as transitions, all of which were fragments of dialogue that got darker and more charged over the period of 1981-4, and a final death scene, the 'Hospital' scene – in fact I'm the only one in the production who dies on stage (don't snicker). The otherwise lovely David Roman, whose famous book on AIDS theater was a landmark, unfortunately misread the long list of segments and authors and ascribed my pieces to another guy, which deeply pissed me off, as it kind of wrote me out of history. But I'm clear that Roman was talking about a lot of things at once, and also that – here I shall pout a bit more – as in France's book, those East Coasters always find it difficult to get interested in the details of what was happening on the West Coast.
But I was very proud of what I wrote – Leland didn't really get it, he was very Method and realistic in his approach, where I'd written surrealist stuff that reflected all the Grove Press/experimental books I'd been reading for years. I still think it was good; unfortunately, some years later when The AIDS Show toured San Diego and other parts of California, I went with friends to see it – and my scenes were absolutely terrible, inattentive and hastily passed through between the monologues; like any long-running show, the things nobody was paying attention to had disintegrated...
Anyway. I was a co-writer and performer in what we think was the second play about AIDS (after Robert Chesley some months earlier). And it was good and I was very proud of it. I wish I'd written more stuff like that.
***
But at this point you're in the actress' dressing room and she's just gotten to her twenty-third birthday when she met the Barrymores, and you're longing to reach the door, so I'll speed up.
***
Los Angeles – far less AIDS, the light seemed brighter and people less worried, and I was back in academe and it was going fabulously. I seemed to know what I was doing, despite a supervisor who disapproved of the poststructuralists...
No, speed up. Yeah okay, sex clubs and bars and the Eagle; sun and cars, moving to the apartment on Spaulding Drive... in 1986 I wrote one last composition on Japanese death haiku (I'm still proud of that one), realized I wasn't a composer, and... yes this actually is part of the story because death was increasingly, endlessly present, and I knew, sort of, that I must also be...
Oh, and there were three months in New York on a scholarship to meet famous composers. I was a fool of course, starting out by telling them about myself, but among the various (Wuorinen was an asshole, Reich distant), Meredith Monk was amazingly kind, and we connected.
And I was walking down Christopher Street the night after Charles Ludlam (Theater of the Ridiculous) died, at three in the morning, and saw the huge array of candles and flowers covering the storefront on a silent street, with 'We Love You Charlie' big in the center.
I mean, every story had the same point to it.
***
So, back in LA, April 1987 – the gay and lesbian center in Los Angeles, the blood test, then a few weeks later my results from Mitch Walker, a Jungian analyst in training. I already knew I would be positive, he told me I was positive, yet that was a huge shock... which is how these things work.
Mitch takes me on as an analysand, I have my first, five-year Jungian analysis; of course it is rather circumscribed because we both know I'm going to die soon, and that's the whole point, dealing with death. Mitch is amazing, a mountain climber of an analyst, Nietzschean and more than a bit scary, as Kast will later be – I take them as models these days (though I'm friendlier – I'm more willing to apologize for throwing huge chunks of reality at my analysands, though I do it anyway).
And I join Terry Wolverton's HIV writing group, which is mostly three to six guys across those five years writing in a room, and I write poetry and stories, and feel creative and incredibly happy when I finish a short piece. And very, very taken care of by Terry, which is why I've gone back to her now, thirty years later, for coaching as I try to write these books.
And John (now Laxman Das) becomes my AIDS Project Los Angeles (APLA) buddy, and he is a disciple of Ma Jaya Sati Bhagavati, a rather wild spiritual teacher from Florida, who visits LA and later SF periodically, and is full of life – she gives me the name Nachiketas, the boy who makes friends with death, and a kind of energetic mothering that changes me.
And all this time I'm still at UCLA, though from 1987 I stop actually working on the masters – yes, my degrees will take forever – but everything's overlapping with Susan McClary coming to UCLA, and a huge transition into the New Musicology, with Susan reflecting my work back at me in a way that will actually turn me into an academic. I know I've said it before, but if Susan hadn't become a mentor, then dear friend, there's no way I ever would have actually been successful, as academic or writer – I was digging existential pits for myself and being miserable in them, but Susan, and Philip Brett, pushed me to actually Do Stuff.
Which led to all of the musicological activities of the nineties, all of which nevertheless fell under the continuing shadow of Knowing I Was Going to Die Soon...
***
Okay I'm tired, you're tired, and this is really just my origin story, right? So, a few high points:
I tell my family I'm HIV+ a few days after Christmas, in I think 1990. It doesn't go well, but hey, it's done.
I finish the masters, a response to Adorno, in 1991. Vince Pecora, Adorno specialist, mentions to me after my viva that the thesis is very angry... I learn something from that...
1992, move back to San Francisco. Gorgeous apartment in the hills.
1993, Fulbright to Germany. A year and a half, Darmstadt then Berlin, and it's all, yet again, a Last Hurrah – I'll be dead soon but I am viable, cool! A respected intellectual who can give presentations at Humboldt and at the Darmstadt courses!
1995-6, back to San Francisco, but now in a dilapidated building as the city disintegrates around me. No real job, grimy carpets, working for the building manager who's trying to minimize the amount of crack and speed in the building. I'm messing with speed and crack myself, meeting people who are truly below the line of expecting to live their lives. I remember phoning my beloved Trisha after throwing all my drug paraphernalia in a trash can in the street, panicking that I've gotten in too deep, but...
Death is everywhere. Of course.
June 1996: that big fanfare over the New Medications. I have the Time magazine featuring Dr David Ho, our new hero.
Everything is changed.
There was a big conference scheduled in Florida later that year around famous writers and AIDS – they actually had to reorient the whole thing:
because if the plague no longer seems to walk the streets, the shape of time and emotion and existence are all so unbelievably changed...
***
1997-2001, first job in Hong Kong. Money, huge flat, respect, success. 2001-2, Australia – that great job in Sydney, but I haven't told them I'm HIV+, and the government rejects my right to stay and, after a year of living with John, deports me. Huge crash in money and career and hope: my tendency to assume my life is ending takes over my expectations, again.
2002: job in northern England. Too damned cold, and far from the urban things I love, but a smart department, kind people, a good-hearted city.... I gradually recover over the years.
2009. Visit to Zürich to reconnect with Jungian stuff. Then, that summer, a minor stroke... death appears again, in a different form. More personal this time.
Sometime in the 2013-2016 period, Verena Kast points out to me that I have no expectations for myself, and I realize I've been expecting to die for decades. Decades of knowing that, whatever I was engaged in doing, it wouldn't last long – and also, underneath that, and more dysfunctionally, knowing that never finishing a book or any major work would be something I could get away with, because... I was going to die too early, full of tragic promise.
You know, when you pull that sort of self-deluding game for decades, it sort of wears out. It becomes increasingly unbelievable, as such things do. And my secret, that I never seem to finish anything substantial or important, is exposed as a reality, not merely an accident of dying too soon...
But I also realize, after Verena faces me with it, that I'm not endlessly dying. My Jung-Institut thesis, The Passionate Body, is about AIDS: because the body with AIDS is not merely a body that's disintegrating and dying, it's one that passionately wants to live: anger, grief, activism, memorials, sex, drugs – our stories and our rabbiting on and on about being long-term survivors – all these things are evidence that living is the thing that we insist on doing.
***
So, now I want to write this shorter, commissioned book on the psychology of the politics of AIDS, and though I've already taken a year and a half longer than I expected to, it isn't impossible to finish – especially with the help of Terry, who has returned to my life, just when I need her.
Then an expanded, completely rewritten version of the Jung-Institut thesis: the cultural complexes and underlying archetypes of AIDS.
And even, maybe, that long-drafted overview of music about AIDS – not as detailed as work by other musicologists: I want to try to put it all together, to see what music has done for forty years... that third book already has eighty pages of single-spaced draft, but is full of holes, of course.
***
Last month, a minor event that suggested a stroke – then various minor symptoms and side effects: some weeks of panic around a stroke, but then I was told most of the problems suggested liver problems rather than neurological ones. A relief because liver problems are slower, and don't suddenly end things.
So, me, and AIDS, HIV, and death, and life, and continuing.
I hope I finish a lot of stuff. But, as I told Fred years ago – he was upset at this, but I meant it, and I still mean it – if things don't get written or published, that doesn't seem like a real disaster.
Because, and it's a cliché but it feels absolutely real, the only aspect of all this that still feels necessary, unavoidable, is the simple fact that I have been here....
***
Happy HIV Long Term Survivors Day, 2021.
June 05, 2021 in AIDS/HIV, Death, Illness, Memory, Writings: Poetry, Writings: Prose | Permalink | Comments (1)
The image seems clear, even obvious, to me – it could be from one of the better-written fantasies, or from a film about some medieval saga... an old man living alone in the woods; there is a shift in the wind, or the light – he looks up, creases his forehead slightly, sniffs the air – sighs, without much emotion, and turns to walk towards a small wooden cottage. Where he will look among boxes and shelves for certain books, some dried herbs; for small but powerful things he hasn't needed for a long time....
***
I started taking this current virus seriously earlier than most of the people around me – about six weeks ago, probably between the second and the fifth of March, because we were getting messages from colleagues in northern Italy. One of the email lists I subscribe to has a lot of them – northern Italy is fertile ground for Jungians – and they were very clear what they were going through.
It was not good.
Antonio, who is also a heart surgeon, was very definite that this would hit us like a ton of bricks; Monica, who works with victims of torture and is thus not easily spooked, and others, also spoke up, with real grief, fear....
So I had early warning, and not from media or rumor. A transition to dropping things in order to take the new crisis seriously was made smoother by our rather unfortunate university strike – not well planned, not apparently successful... the new leaders of the union are passionate but not calculating, the kind of people who are so certain that everyone will understand that they are right, if only people would see, see!, then they will surely support our noble cause!
I don't know why they didn't issue us banners of some kind. As the strike ended, the virus was increasingly visible, and the world changed, leaving the strike in the dustbin of history, along with a number of other things.
Of course, the UK as a whole has stumbled to catch up with the virus – as has our university, and our school. Days after some of us were already doing online classes, figuring out software by talking to each other, the university finally started cranking out policy statements... and we received Statements that the university and school Knew that we were Anxious (and thus, by implication, helpless), but that with the Help of the People at the Top we would all somehow get along.
Which completely ignores the reality, which is that university lecturers are distinctly smart people who can figure things out, make things happen, make unusual situations work....
I suppose it's another facet of neoliberalism, though most supposed leaders in most historical eras would probably do the same thing: panic, lose focus, hold meetings, babble, and finally send out policy statements.
After so many years in so many different corporations and departments and universities, my need for, and interest in, statements by people in official positions seems to have completely dried up....
Which is also in tune with what is happening now: one doesn't have to be nobly and radically optimistic to sense the strong intelligence of groups and communities, the deep ability and passion to take care of each other. An ability and passion entirely missing in many political structures and professionals these days, especially in the English-speaking countries, which have been finally getting their comeuppance for long periods of arrogant prosperity.
An ability and a passion to, in a phrase that has been so battered over the past fifty years that it seems, at times, to consist of mere splinters:
to build a better world....
***
Thursday, the third week of March. The university will mostly close soon, so, on a Saturday I take an Über into town. I wear a mask – it is my first time out doing so, and I am awkward with it, and my glasses keeps steaming up. Ordering masks was in itself fairly difficult – Amazon, online, expensive, and only the third order was not canceled; they took four days to arrive, but Antonio had told me I needed them (FFP2 are the type we want, and FFP3 are really overkill), so I got them. He had phoned me the previous weekend while I was walking across campus, and given me clear marching orders: go home, get a mask, don't hang around in the middle of even this small city.
And Mary Jo, who was a professional nurse – and before that was an Army nurse, so she puts up with no nonsense of any kind – said she had just gone out in her New York neighborhood with a mask and gloves. She said people smiled at her, but were pleasant – I am having the same experience: people smile or don't have expressions, but no one seems mocking or shocked. I must not be the first to do this on campus.
The taxi driver is young, Muslim – curly hair and some acne, a big, sweet lad from the looks of things. We talk about making money – he was a bouncer before this, but he didn't like it; I point out that being a bouncer will also not be a job in much demand for a while, he is surprised, he had not thought of these things – but he gets it. Things are a bit complicated for him; somebody hit his car in London, totaled it, he borrowed money to get this one – and now Über business is declining. We talk a bit about how to manage, finding something to do, some income or support... he's confident that things will be all right. He evidently has family and friends around here, so: support systems.
I get out, waving to the guys working on the roof of the house across the street – it still feels a bit odd to be wearing the mask, but okay. And I tip the driver £5 on the app – that's the second time I've done that this week – that burst of empathy...
***
Some Geordie friends have told me several times that masks are useless. (One repeated this today, in Easter week... which seems very late for such nonsense; there's an echo of working-class bravura and cynicism, that defensive move where they make everything look awful, historically so they could bear all the bad news.) They don't seem to quite understand: it is indeed difficult to completely block this virus, but it's not hard to slow it down, and slowing it down could be the difference between light, and –
Well, it could be a way of keeping systems from collapsing; and perhaps of keeping individual people alive.
It is now, in the second week of April, calm, for me... in the past few weeks people have erupted with indignation, and the English and American governments have responded with startlingly incompetent selfishness. Fortunately we are in an internet world, and people generate ways to take care of themselves, of their neighborhoods... there is something very real and very intelligent about what is coming from medical people, scientific people, and a vast number of everyday people who are paying attention to them – mostly not from political people, of course, but honestly who cares about them at this point.
***
I have given not one but two online interviews about COVID-19 in comparison to AIDS. Of course, everyone is weighing in about everything these days – there are good and neutral reasons for this: everything is very charged, people are isolated in a startling external quietness, people want to do things to recreate the parts of their world that seemed normal – and so there are constant attempts by individuals and systems to integrate meanings into the illness, into the experience of the illness....
***
COVID-19 and AIDS are absolutely different, of course, in the real world.
AIDS is a strange meta-sickness, attacking the system of defenses so that other illnesses, strange and unfamiliar because they’re normally too weak, appear. And the disturbingly invasive aspects of that older virus being contacted through sex or needles – it is always weirdly threatening, disorienting because of those images of invasion and transformation. Even after nearly forty years, it remains... strange, and strange to understand.
COVID-19, on the other hand, is a variety of a cold/flu virus – the most familiar thing there is, the thing that everyone everywhere knows, the most everyday sickness – families, kids, schools, people sniffling in a shopping center, or coughing in a theatre in winter. Of course this version is transformed through its severity – and its slight strangeness: there are familiar cold/flu symptoms that appear, but others that don’t; and the real worry, the thing that is hard for us to absorb because of its strangeness, is that it will become total: that the choking off of air will move through the lungs.
In the online interviews, this was the part I was most uncomfortable saying... and I don't need to expand on it here. It's clearly the thing that has all the medical people so distraught, so – may I say – broken-hearted? And it is...
It seems to be a hard death. The body choking, the lungs filling, tension and exhaustion, for some hours or days. Not the worst death, and certainly not the most long-drawn-out, but – perhaps something where a part of the experience is: there isn't time to manage one's feelings.
***
And now I am sorry that I said that. It probably doesn't make any difference, but... I'm sorry.
***
These two illnesses are absolutely different, at the surface, at the level where all the realities and symptoms happen.
But, at a deeper level... the fear and anxiety around serious illness, and the deep terror of death...
I've written such a lot around this in the past couple of years, working on the books about HIV/AIDS; I don't want to go too far into Becker's Denial of Death, its brilliant update in The Worm at the Core, or the depths reached by Herzog in Psyche and Death, his book on death archetypes, which changed my understanding forever.
Suffice it to say that the terror of death is a basic driver of culture; it is something deep and amazingly universal. My own sense of what death means has expanded in the past few years, from the sharp images I got too close to in the late 80s, to... a sense that it is always too big for us to imagine. Which is why most of our religions, philosophies, tales, creations, and destructions exist at all: we are constantly trying to make, build, something that will stand up to it.
None of them are complete answers, though.
Our urban Western culture has, of course, become relatively blithe and clueless about death as a familiar part of our world, especially death in the streets (you have to go back to the Spanish flu for that). Mostly only medical people and military people remember, as it is deeply embedded in their livelihoods.
Others cannot usually acknowledge the possibility of death – therefore the current wave of bad government, especially in the English-speaking world, shuffles, avoids, gets confused and chaotic… leaders whose derangement and dysfunction seems, finally, to have real consequences. The worst of them have never taken either death or life seriously, and it is catching up with them.
***
That's what is the same about the two illnesses: though they are utterly different, all the deep panics, complexes, deep structures and deep chaotic reactions, seem... exactly the same.
Which is why everyone in all of the HIV+ groups seems to have slightly puzzled expressions pass across their faces, intermittently over the past month – a bit like mine: are you all as utterly surprised, as panicky, as you seem to be? Did you not know that these things are possible in our universe?
Are you like young children, who cannot understand why Grandpa won't be coming back from the church?...
***
The Crisis (the current one, not the old one) has more sharply etched the differences between people. Some people I know are ready, not unaware, not shocked – others are anxious and disoriented...
There is no way of telling from a person's background, from what you already know about them, whether they can handle this or not. Which also means hierarchies of strength and weakness, independence and dependency, arrogance and timidity, are shifting – they keep getting reshuffled, some of the very loud are suddenly relegated to whimpering confusion. And, more pleasantly, some who are frequently uncertain seem... clear, definite. Unconfused.
And yes, I realize, we ain't seen nothin' yet, and things will change, and people will also change, possibly several times. I'm talking about the way we respond to the general prospect of serious illness, of people dying, and the ability to manage major changes in public behavior, in the look and feel of the streets, of the city.
There are people who are not disoriented at seeing danger ahead, and sometimes it's a surprise. You don't know much about their lives and you think, with curiosity: where did you learn that?
But that ties in with the entire psychological/cultural/existential conversation around the denial of death, in its ancient and modern forms: things happen around us, and we may either pay attention to them, draw conclusions and realize what is and what is not real... or we don't.
There is such a range of variation in this, so many different stories and lives and psychological structures – but at the moment it feels as though the largest difference is between people who have crossed some line to be able to imagine this kind of thing, and yet go on; and people who have not...
Of course the exceptions are the medical and the military, whom I refer to every time I talk about this, as though they are two magical castes who know more than the rest of us... and perhaps they are. Even among them this is not universal, but it is much harder for a nurse or doctor to hold onto a panicky naïveté in the face of death; most of them eventually, at three in the morning after a long shift, or by the bed of a patient they've come to like, will have to cross to... understanding.
***
Interestingly, some who are usually fretful and anxious seem peculiarly calm in the current atmosphere. Perhaps if you carry around anxiety, and no one ever seems to understand it or take you seriously – and then you are in a situation where there is a real reason for anxiety, and everyone else is anxious too...
that seems to be calming. They seem to speak and move differently than they usually do, as though through a liquid that is lighter, less resistant. Everything has become, unexpectedly... easy.
***
In the first days of confinement, extroverts were so confused, so frustrated! Suddenly bound indoors with their feelings, especially those feelings they might usually avoid in energetic, outward-facing activities – and now all they could do was have those feelings... they snap at others online, and explain at length how everyone else in the world is clearly a fool. Blame and chaos: extroverts thrown back into the noise that lives inside them.
Some extroverts seem to have been positively enraged that they could be mocked for this – perhaps they do not notice the ways that they would normally shove the introverts aside, mildly mock and ignore them. Well, although of course extroversion and introversion are polarities and real humans live in the large spaces between them... perhaps we should have expected this.
One extrovert I know, after two weeks of weirdly aggressive and dramatic pronouncements about many things under the sun, posted that he sensed a lot of irritability online lately... and perhaps even he had shown some of it. But I can only roll my eyes so many times on any given day....
Many introverts seem, on the contrary, rather calm. Perhaps, for many, this is how things should go... most of my analysands are actually calmer than usual, as though the world is pulling at them less. They are centered... and several of them are moving with astonishing speed through personal transformations that have been near, visible but not quite reachable, for several years; as though disengaging with the world has made some deep things very easy.
I'm like this, too; things seem reasonable and calm... I'm Montaigne in his tower. But I have far better heating.
***
Some fragmentary notes from the interviews:
There is a sense that the world may be forced to change – really change....
*
Statistical understanding: we are all so accustomed to this – it's how people communicate these days, in science and news and social planning. But we’re not very good at seeing what it really means: numbers of people who are ill, numbers of people who might die – people see their own deaths, the deaths of those they love, very differently, with huge depth and importance: one per cent is not small if you are part of it. And that is the great contrast in the neoliberal world – bad politics looks at numbers, which seem rational and sufficient, if you are not paying attention – but good politics treats all its citizens as important.
*
Symbolic and real: when people are comfortable they don’t mind mixing those up… like the blurring of sadness and depression, of PTSD and emotional trauma. Symbolically, you don't want to spend more on services, you want to hold onto money in numbers, you want to support your party, even when they are insane; and, in America, you want to support Trump, because he seems to resist the status quo, and you hope your life might change. But in reality, he will do nothing for you, and if you are sick or dying... there is nothing more real than that.
*
There have been strange minor events in the UK that I don't understand: people have destroyed ambulances, wrecked hospital delivery vans. Are they angry and frightened because their businesses can’t compete – and thus short-sighted, but sort of reasonable in an enraged sense – or are they hoping for the end of the world? Because hoping for the end of the world is common among radicals; but you don't really want to be there when it happens.
And so, the American evangelicals behind Trump who insist on still going to megachurch services: hoping for the end of the world... wiping everything clean is an absolutely destructive approach to social inequality. Especially because what is left behind is never in any way 'clean', it is a chaos of wreckage and bodies; and because we are human we then take the time to clean it all up... and bury, not only those we love, but all of them.
***
So Boris was sick, and recovered... it was interesting to see people who trumpeted, in rage and (implicitly, from my point of view) terror: I don't like him but I don't want him to die! That would be terrible! I would never say or feel that!
I don't mind saying that I'd have been perfectly happy for him to die.
Everyone dies; it's not magic. There are many elaborate traditions of forgiving the dying or the dead – which can matter for the living; but respecting death and saying you would never wish it on anyone – that seems to me nonsense. It's embedded in an idea that some of us may actually escape death, that we have a say in something that is rare or will not happen unless we wish it, which is ludicrous.
And, at a deeper level, it reflects the ancient traditions arranged around our own terrors – it's the kind of thing that made people abandon a village in the jungle, because after someone died there, the area became taboo.
A number of people have died, will die, from this virus. Why shouldn't I prefer that some of the more evil and powerful people, who have committed so much wreckage on the world, be put into that line? When you have seen people die... any constraints about wishing someone dead seems merely a luxury, a self-indulgence. A way of appeasing the gods, or of seeming nice in the face of terror.
It may be an accident that, at a point where the worst of the baby boomers, the most pathetically arrogant last wave of a period of brilliance weighed down by egotism, would be faced with an illness that would particularly target people their age. Why would the idea not occur to us that this is the perfect way to take out Trump, Boris, heads of gas companies and Republican and Tory parties, Hungarian nationalists, Putin's manipulation machinery... why would one not wish for all of that ludicrous, pathetic, horribly powerful evil to be taken from the world?...
***
I showed Angels in America for my class on AIDS last week; it was so wonderful to see it. So many moments, speeches, words, symbols, that relate to so much that we're doing right now, here...
I would love to talk about it at length. But this post is already far too long – longer than a conference paper....
***
As for me... life is quiet. I am busy, but perfectly comfortable: patients are all online, and have been for weeks (only one objected, and he stays in informal contact). Online analysis is more tiring – an hour feels longer, the eyes don't rest with screens, one's attention is constantly in demand – but isolation is making them more productive, some of them flowering and changing with a kind of time-lapse photography effect.
With all my sessions now online, it occurred to me to put the little folding table from the corner of the kitchen next to the desk. A sensible precaution: mugs and cups are now only on the table, not next to the computers. See, I can plan ahead.
And students contact me about their work. I told the ones who were abroad what to do, with some stressful disagreements (one of which I lost, but it's clear that the three guys who insisted on staying in the boondocks of Norway are fine); and reassured them that we would handle marks and things... the university will panic, of course, but that's its job. I've told them all to use whatever opportunities they're offered to get extra time if they need it; but that it's worth getting things done, getting their own work into the kind of shape they can be proud of, so they can move to... the next part of their lives; which may seem uncertain, but will not, I think, be boring.
I've contacted other people I know – probably acting a bit too avuncular, a bit too I'm-not-checking-up-on-you-or-anything... which I know must seem insulting at times. But I also know that even the clumsiest and tritest gesture of reaching out can allow someone suddenly to talk, someone who obviously had no one to talk to; so the sententious Professional Carer bit becomes forgivable, in a broader context.
Anxiety floats and swirls around me, but none of it seems to touch me – not because I'm at all numb, or avoidant, or immune – but because it all just seems so obvious, so familiar. I'm calm; not trying to be calm, just... calm.
***
The most important thing remains writing the current book – the one on the psychology of the politics of AIDS (yes, rather weird combination, but surprisingly full and energetic in meaning). I'm not going fast – even with coaching from Terry, a wonderful reconnection twenty-eight years after the first time she was in my life – but I don't feel guilty or sad about it. Just a bit grumpy, just a bit pushing myself, nagging myself, frequently... and of course this is indeed an ideal time to see all these things, as they are reappearing in such spectacularly public ways, in ways that are shared, this time around, by 'regular' people.
***
And what would happen, might happen, to me? I'm making sure the will is up to date – online, as local firms are not responding, even to emails.
I've thought quite seriously about it: am I scared of dying? Now?
For thirty years, I've identified – overidentified – with AIDS and death. I've told the story of Verena Kast, my brilliant supervisor, saying to me: you seem to be taking care of your patients, giving them some hope and direction... so why don't you do that for yourself? And the shock of realizing that, for decades, I had hidden fear and sadness, with hope and expectation, behind the ashen darkness of an overidentification with death.
That's far better now. I'd love to live, I'd love to finish this book, and the next. And in one direction have a boyfriend, move somewhere warm, live a more social and lively life... and in the other direction remain with patients and university and books, a quiet life similar to this one, but there's not really anything wrong with that, any more.
But if I died in the next couple of months... I don't mind it, really. I've had years – decades! – longer than I expected to have, or than anyone from the old days of HIV/AIDS could really expect. I've lived on four continents and visited a fifth, done all sorts of... well you know how that list goes on. And on.
So, dying in the abstract would be okay.
And even dying in physical reality... I don't, very sincerely don't, like the prospect of dying from this illness; it seems painful and miserable.
And, let's face it, when I recall my visit to the emergency room last year... it's obvious that my American accent could well move me down a list of those who get a ventilator.
I don't like any of that; but it's not horrifying. I think – how can we ever know this? but I have never believed this in my life before, so I take it seriously now – that if I were in that misery, that the misery itself would be real; but it would not be terror, or horror, and it would not collapse into I-wish-I'd-never-been-born.
I just don't think that level of despair would happen to me any more... we never know, of course. But I'm even calm in the face of that.
***
Easter. Spring. All sorts of passionate things about life and death, energy and hope and future, and ending.... we usually float easily through the various observances and non-observances and holidays and details; but not this year, everyone seems to be paying attention.
One of my analysands is a priest, a kind and serious man – we talk several times during Easter week; he is busy, taking care of people in his village, especially the elderly. As they plan and reorganize all the Easter services so he can hold them online, they are also bringing baskets to people, wearing gloves, standing far back from the door each time... many of his parishioners are older, fragile, and he himself is only a few years younger than I am, so. He knows.
I've told him I will listen to the Matthäus-Passion, what is still for me Bach's greatest work, on Sunday... I keep thinking, actually I'm going to be rather busy, there's this marking that's due Monday and the new online initiative from Stefano and Bernard, and they are impatient for feedback...
But I can play it anyway. It won't be a completely clear-and-present hearing, but I will be there. The piece is in my blood anyway – since the amazing experience of being in a full-scale performance at the University of Virginia in, it must have been 1976 or 1977... on Easter Sunday. My family came down to see it, I told them they would want to be there. Otto Werner-Mueller, a serious and powerful conductor, teaching this mass of students and teachers how to do this huge and intense work, and to do it as though we meant it.
It's all there, I just turn around and it all comes back to me.
***
Yet another Easter: the brilliant scene in the television production of American Gods, which so cleverly cast the charming miniature powerhouse Kristin Chenoweth as the ancient goddess Easter. She is in an unusual position relative to the others – unlike most of the very ancient gods who are no longer worshipped, she is neither poor nor desperate. The entire world of Christianity still funnels energy to her, through Christ's rising and the whole spectrum of Easter traditions. There is a bizarre and hilarious party at her country mansion, with eggs and bunnies scattered everywhere, and many varied figures of Christ and the Holy Family – because there are so many believers still projecting so many different things onto Christ, he appears in a number of adjacent forms... it is an eerie scene.
Easter herself is glowing, social, in charge, and does not show her power most of the time, preferring to manage younger gods by charm rather than confrontation... until she is seriously challenged.
At the end of that episode, and that season, she is moved to do something she has not done for thousands of years, and in the terrifying last moments of the episode she shows that she can take back her blessings of life and spring: she glows and darkens, her hair flies from its bonds, she waves her hands over the fields and forests, and they blacken and collapse, for miles and miles....
The power of life and death: it has two sides.
Always.
***
I am, of course, merely someone who has been present at this kind of thing before – one of the ones who was in the direct path of an earlier storm of death and chaos and unmaking.
And I'm fine. This is not shocking to me.
***
And so I shuffle through the forest, a bit slowly, back to the cabin.
And I go through the books, the herbs, muttering a bit, and thinking: what will be needed, what will be next....
April 12, 2020 in Academia, AIDS/HIV, Death, Illness, Imagined, Memory, Music, On writing, Personal, Psychology, Television | Permalink | Comments (2)
[A 1991 story written in Terry Wolverton's writing group; about Reid Beitrusten, who died 2 December 1983.]
You’re dead, but you wanted to write stories. You were just about to get published, just about to start making it. So I’m writing a story for you, I started it in the laundromat, I went next door to buy a legal pad and a felt-tip pen and scribbled in front of the dryers. It won’t be the story you would have written, I’ll never know what that was, your mother took all your books and papers back to Florida, she wouldn’t give me any of them, they’ll molder in an attic somewhere.
When I get home, it’s after midnight, I type the scribbled pages into the computer, changing as I go along. When we met, that part’s easy, you were behind the bar, I was so confused by your smile, but happy, I didn’t know what to say. Page two. You never had a computer, the best ones were after your time, but you would have liked this one a lot. I got it the year after you died. Page four. The next morning, our breakfast date, you showed up early and caught me coming out of the shower, you kissed me, wet as I was, and it was two hours before we got to breakfast. Page seven. I want to show you how the printer works, show you how pretty the pages look when they’re done, how easy it all is. Your story will look very professional.
I begin to format the document, putting page numbers in the header, styles in the lead paragraph. What sort of styles would you have used? What would your voice have said, your slightly rough, resonant voice? That first morning, you told me about your favorite novels in Russian, and I thought, you look like the handsomest lifeguard on the beach. I’m writing this story for you, not for me, not for publication, not for people saying, Goodness, this is fascinating. It’s for you. I can print out this draft now, but it needs work. I’m trying to say something about your arms, the golden hairs and the broad gestures, I don’t know quite how to put it. I want this to be well written because you would have wanted it that way.
As though I would put any name on it but mine. Who am I fooling? Certainly not me, I know better. I can’t wait for people to tell me how good it is, how good I am. And I couldn’t possibly be fooling you, but I suppose you’ll forgive me, you always would. In the hospital, you were disfigured, bloated and in pain, but I couldn’t stop looking at you, you were so beautiful. Are you watching? Over my shoulder, seeing if I got it right. Seeing if I make myself look better, if I skip over the times when I stayed away, when I couldn’t deal with your sickness, my fear. I wonder if anyone will ask me about your name in the epigraph. Who was that? Oh, a friend of mine, someone who died.
Editing, a red pen with the printed pages. But I’m beginning to feel so strange, uncomfortable, almost afraid – what will you do when you see what I’ve made of you, what I’ve done to everything? The story is beginning to feel horrible, it’s as though I’m draining energy from you, taking it from your poor dead body. I wanted to bring you back to life, but that can’t be done, not any more. Who told me I have the right to write a story about you? The story is for you, it’s your story. It’s not for me. I’m not writing this to show off, to make people impressed. It’s for you. But it’s rotting, turning into fodder for a new anthology, garbage for some monthly magazine, I haven’t said anything right, it’s not right, not right at all.
I go back to the computer, push some keys.
REALLY ERASE THIS DOCUMENT?
Yes.
As the computer buzzes, I tear the pages in shreds, quickly, before I can think about it, and put the shreds in the trash can. I’m not quite crying, really more sniveling, and my stomach is hurting again, it always does these days. I can’t write the story without you, you shouldn’t have left me here, alone and scared, I can’t even see your face any more, and all that’s left of your voice is the words I used to describe it. I take all the trash cans, dump them into a plastic bag, and drag it out across the wet concrete, my white socks soaked and muddy, and I fling the bag away from me as though it burns, it burns.
[Los Angeles, 2/15-8/19/91]
December 02, 2019 in AIDS/HIV, Death, Illness, Memory, On writing, Personal, Writings: Prose | Permalink | Comments (5)
I'm in a casual, student-y restaurant in August: which means it's fairly empty. The big, friendly black cook looks at me inquiringly – I'll stick with this cider (yes, it's fruit-flavored, shut up you) and won't have dinner for another half hour or so.
I'm finally working on that proposal for the shorter of the AIDS books, the one on the politics-of-the-psychology-of. Glad I noticed that Routledge did indeed send me instructions, I've been dithering for two months about the format... this is of course, as usual with these things, simpler than I have made it.
***
I pull out a few documents, the CV, etc.; that folder also includes an ongoing journal, the one that is extremely intermittent, but typed into the computer. (This is in contrast to handwritten journals, which I love but don't write in often enough; and the handwritten and typed dream journals that I've kept since 2009.)
(As for dream journals: it's frustrating that I remember so few dreams in the past three years – medications and night aches and itches tend to wake me and pull me away from dreams roughly enough that I rarely remember them these days. Though I was thinking as I woke this morning: at least I know that I am dreaming. I'll have to trust to the unconscious to do the work it needs to do – which is probably easier without the 'help' of my admittedly congenitally arrogant, heavy-handed ego.)
After I correct the title of the journal to bring it up to today, I realize that its first entry, typed in on an old Mac SE, was written in August 1989... thirty years ago. I was thirty-two, two years diagnosed HIV+, living in Los Angeles....
I read the first entry:
***
Laura [Kuhn] called me to tell me she’d had a dream: she bumped into me in the street, I was radiant with health – I told her, I’m cured... it’s kind of a surprise that she would have the dream, and even more that she would tell me. She says such dreams are always prophetic for her.
This is at the same time as I’ve been reading Siegel’s book on healing... I feel for the first time as though I actually can do something, myself, about my skin, about illness, my digestion, and about, of course, my life–span...
A little later, as I dither around the house trying to avoid writing the grant for [Steve] Schulte, I’m listening to the Sondheim songs from Merrily about the past, the future, hope, etc... the same things Mary Jo [McConnell] and I sang in San Francisco at the cabarets: it’s our time... And once again I’m stuck in the same place: to hope or to give up? I can never decide. Frozen here, hesitating between being a strong, healthy person in control of my life on the one hand and, on the other, retreating, despairing...
I’m singing in a few days at Ted’s, and I don’t sound too bad; Ted said I sounded great last night, and he’s usually so difficult to please. It feels good to get back to something I really enjoy and can get excited about. The dream the other night, about the old, unused theater... can I recondition it?
***
Laura is now head of the Cage Foundation, having worked as his last assistant.
Steve Schulte had a stroke and couldn't bear for people to see him with his face slack and out of control – he was always such a beautiful man! I thought he was still quite beautiful after the stroke, but he has avoided the public eye for years.
Mary Jo is still performing, and has been planning a move with her husband John from Brooklyn back to San Francisco.
Ted has been dead since the early 90s; I wrote about our last performance for him, when he was dying, in an article a few years ago.
Was that dream theater ever reconditioned? Could I go into it now?....
***
I am, of course, still here, in August 2019.... in a café, with young people laughing at the next table.
Trying to collect my thoughts....
August 12, 2019 in AIDS/HIV, Cities, Dreaming, Everyday, Memory, Personal, Psychology | Permalink | Comments (0)
14:23 = 2:23 pm
10 March 2018 = Saturday
...
Having left M. with a hug at the station (one of those hugs between men that always make me wonder, in a flash, whether non-gay locals find this unusual, but then I always decide not to care), I turn and walk – not, as I said I would, towards the buses, but instead towards the big department stores. This is in fairly direct contravention of his advice and expectations, which are that, on the day before Mothering Sunday (do they still call it that? – I mean, the English version of Mother's Day?), the cosmetic counters at the department stores will be completely overworked and distracted and frantic. I have agreed with him and said no, I wouldn't want to go today then, but with the background thoughts: it's not an unpleasant day, I want to walk around some more anyway, will it really be that crowded, I want to investigate this and/or handle and/or complete it.
'It' is an item on my to-do list – N.'s birthday is a week away. I had thought of things I would like to give her – I'd already made a list of possible books, and how about another trip to Barcelona together. She has nixed both of these – she has enough unread books (yes, okay, that was more like imposing one of my fetishes onto her birthday than actually trying to make her happy with one of hers), and Barcelona is too complicated at the moment, so: a detailed list of specific pieces of flatware (oh yes, didn't we have a conversation last month where she said she had a new set of silver, she'd bought it with her mother – or her sister, something like that? – and still needs various pieces, oyster forks and lord knows what else); and the possibility of a facial at one of the department store spas.
Flatware is not really my thing, so I have already decided on the facial, and I have already explained why I am not supposed to go order the facial now, because it will be too crowded because it is the day before Mothering oh you remember all of that it was three seconds ago, but I am going anyway because the street is crowded and lively despite the intermittent rain, and I get lonely and bored in my supposedly pleasant, quiet apartment with plenty of room to work. Disregard please, old complaint from nearly sixteen years ago that goes something like, I would have been happier if I'd moved into an apartment in the middle of town in 2002, but it's too late for that now and it was unrealistic anyway and we have walked through that conversation eight thousand times, so.
Facial: okay. A web link messaged to me by N. leads me to John Lewis, Clinique, a fashionable webpage, and a long list of facials, damn, which one is it supposed to be then? Aha, she mentions which facial she wants in another note. But the webpage gives phone numbers for Oxford Street, other places in the distant south, and Leeds – but nothing for Newcastle, which suggests to me that they don't do those facials here, so I mentioned this to her in another WhatsApp message and she said oh, well Fenwick's may have this kind of thing too? So I have a printout of the Fenwick's webpage in my pocket. Though I think I will go to John Lewis anyway, it's a hair classier, and perhaps something about the webpage is wrong, or merely blurry and confused, as with so many commercial and public things these days. If it can be said to be only these days, that is.
Which is why I am stepping out onto Northumberland Street and turning right, rather than turning left, which would be more in line with what I said to M. that I was going to do. As I walk in that direction I do know that I am not entirely out of sight of M., but will assume that he won't notice (he is good at noticing things, but he is not at all paranoid) or that I'm either a bit confused or that I've decided that I want a bit of a walk. Which is also sort of true – I mean actually both of those things are sort of true, though as I veer right the definiteness of wanting to go to John Lewis, or perhaps Fenwick's depending on what actually happens, and order the facial is not only more present, more real, it is also more probable, as I am already pushing myself into going that way.
I didn't mention that, interlocking with these texts with N. about exactly what presents to buy, and talking with M. about politics, and about the lemon tart I just had at a table in the café on the third floor of John Lewis (did I mention that there seem to be recursive patterns in operation today?), the coffee I ordered for him, and the tray I made him carry because I tend to be too shaky for carrying trays full of liquids these days, and M.'s advice and discussions around N.'s present, is a series of texts (not on WhatsApp but on Message) with (and here I must pause and check my technical structure because I am introducing another male friend whose name starts with M; it would be impossibly confusing to also call him simply M., and I never like those bits in romans à clef (note the plural) where you represent people you aren't quite naming with initials that don't match their real ones, as that seems kind of fake, so – despite the visual inconsistency we'll choose to call him M2, which is only a little weird given the range of arguments against all the alternatives) M2, where I told him that N. wants flatware, which I think is boring, or a facial which seems more possible, and he said cool, how much is it, which suggested that we should perhaps split the cost of the facial.
I may mention that I have been more casual about spending money in the past year – reduced long-term plans, discussed elsewhere, and the end of paying tuition at the Jung-Institut, and a strong sense of you-can't-take-it-with-you have meant that dinner at an expensive restaurant doesn't seem to qualify as a realistic source of anxiety (note already documented visits to Zürich restaurants last month) but instead to be a perfectly reasonable ask (it is in fact faintly possible that I spent a bit too much at Christmas, if people were worried about reciprocating, but hopefully they wouldn't panic about something so trivial). Oh, and in this case, that is to say the case of the present for N.'s birthday, she is someone it's a pleasure to give things to – she is what used to be called discerning, which means she cares about and likes special gifts, not only of special quality but if they are specially appropriate – and it's a landmark birthday anyway, one with a zero at the end of it (which reminds me that I am more than one year older, which reminds me that I did want to finish the Jung-Institut program by the time I was 60, and it's too late for that now that I'm 61, but there is a push for me to finish by this summer, which would require finishing the thesis in four months, so I'd better get to work on that when I get home after being out here walking around in the middle of Northumberland Street, and of course there is also the unfinished second symbol paper but I won't think about or mention that now). So, for a birthday with a zero in it, I'm happy to spend more – it's celebratory, it means this isn't just another regular birthday.
On the other hand sharing the cost and symbolic gift of the facial with M2 would be a pleasure in itself, a sort of metafamily kind of thing, so that seemed interesting, so I told M2 so in a message while in the café with M. and while finishing up messages with N. And he said yes, so this will be a two-person gift, a facial, I will sign the card with both names and then get M2 to pay me back later, so that plan has a clear path to completion.
But by now it is already several seconds later than the point where I walked away from M., and started to go right rather than left, into and through the busy street full of shoppers, near the large fruit stand with the big, bored-looking young guy selling fruit (everybody really liked that movie, what was it, God's Own Country, about the sullen gay farm guy, but I haven't seen it yet) and the underlying noise, which is actually music, is taking an unexpected turn. There is almost always a busker of some kind in front of Marks & Spencer's – a guitarist usually, and sometimes something more startling (there have been singers, flautists, or flutists if you prefer but that always seems a rather clunky term, and occasionally the shock of a bagpiper). Today it is a young guitarist, in his 20s perhaps, someone I don't recognize, longish hair, possibly somebody's student (there is always a flash of worry here: is he one of my students, unrecognized, someone I don't remember from a large class, and he will think I'm a heartless, uncaring jackass, a bad parent sort of thing, if I don't seem to know who he is? but this one is busy, preoccupied, so there will probably be no reason for concern), and he is playing something sort of unexpected – he has accompanying music coming out of a boom box, but it is unexpectedly minimalist: this sounds very much like New York-style minimalism from the 80s or 90s, repetitive and rich, but definitely in a popular music vein.
Are there pieces like that I don't know? – probably, I tend to miss a lot of pop trends; so is this a piece I could actually recognize, or is this something he has created himself? The question can't be answered at this point and with my limited knowledge, though I suspect J. from San Jose, who knows a lot about groups like King Crimson, or the various people hanging around B. in Los Angeles who are eager to get his attention on topics related to minimalism, or J2 in Finland or F. in Liverpool or for that matter kind of a lot of other people, would be able to weigh in at length on it.
So, what we've got is a cheerful busker, guitar, boombox (are we still supposed to call them that, and isn't there any useful technical variant for electronically reproduced music, as opposed to old tapes and CDs? If so I don't know it). And shimmering, pleasant minimalism, a broad ensemble texture that suggests someone has listened to orchestral versions of similar textures but is responding with other sounds, something that mixes orchestra and electric guitars and drums. Pleasant. Half-thinking, half-not-thinking, and aware that I have already passed one man sitting against a building with a dog without giving him anything, I am veering approximately within throwing distance of the guitarist – or more accurately of the guitar case – and I do find myself working out the details: is there change in my pocket? yes, so can I get some out without dropping backpack or bag? luckily yes, can I tell what two coins I've just picked up? no, unfortunately, but one is heavy enough that it's probably a pound coin so that's all right, am I veering at the correct angle to reach him and is anyone in my way? it seems as though things are looking okay –
I toss two coins in the case while continuing to move smoothly, and equally smoothly he turns his head and smiles acknowledgement without missing a beat of his guitar work, all in the time of the two or three yards of my veering close to him and moving away. So that's done. As I continue walking down the street I also half-turn back towards him, continuing to connect with the music, and also the texture has just changed a bit, will there be a clue as to whether this is something I have heard before, or heard about? – no, there is a bit more guitar, though. All right, I've done my duty here.
Perhaps part of the reason I connect more rapidly to M2 in the entire discussion of N.'s present is that he hurt his hand this week, rather badly – I don't even remember the entire story, though I did hear it, but he managed to scrape skin and nails off two fingers, lots of blood and the appearance of those parts of us that are usually out of sight, concealed by containing flesh. It was obviously a shock for him, though by the time I saw him in the pub on Tuesday he was cheerful – still holding his left hand, splints on two fingers, in the air. (This is perhaps more of a source of anxiety for a guitarist, and we were all especially consoling). He will take some time off his work at the café – which is probably necessary, though they are deciding just how long that should go on. So M2 is a bit post-shock, and at the same time cheerful and relaxed, and self-aware, and wondering at a larger level, because he's going through that thing that we all do when we are jarred out of our routines – a return to bigger goals, an attempt to refashion, to reorganize, so he wants to get some work done (I'm assuming he can type with his right hand, at least) and talk to me about applying to get into a Ph.D.
Which intersects, at a social level in the pub four days ago, and also two days ago in the same pub although indoors, and also in terms of life-lines, with M3 (I am thinking we may need another naming convention, but it is obviously too late by now), who is also a guitarist – or perhaps he plays several fretted instruments, I can't quite remember – and who was both a departmental success and a departmental anxiety, as he won one of the fellowships it's so hard to get here, but then fell seriously ill in the middle of his own Ph.D... and then recovered, and ultimately finished, all in a complex cloud of group responses: everyone trying to be supportive and sympathetic, while simultaneously also being anxious, without of course wanting to burden him with our anxiety (should we tell the government that you're too ill to continue your degree, will we win fewer awards because of this intrusion of the ruthlessness of the real, unplanned world?). And so many, slightly chaotic, personal communications, because M3 is personable, funny, and known to everyone; and because he is also the kind of person who is very aware of his own illness and its more serious possible consequences; and because he is smart enough to have already noticed, or guessed or intuited, everyone's messy sympathies/anxieties/comments, etc.
So it was, on one side, a very time-conscious table in the pub, at least during the point when we met two days ago, at least for part of the table – and even the other parts of the table were a bit more time-aware, more loss- and change-aware, than they might normally be, after the injury, the jokes, the beer. Like a sudden lifting of a veil, everyone becomes more aware of time in its longer forms, in its comparative aspect, in its processes: where worry and hope lead, and where they don't – as well as that awareness within such awareness that worry and hope seem less meaningful when the larger arcs of lives and paths and expectations and occurrences are seen in their vast complexity.... But M2 also looked cheerful, almost happy in his freedom, rooted as it is in disaster and pain – he keeps telling us how gross his hand looked, and he won't show me the picture (he knows I don't like, for instance, horror movies): it clearly was a real shock, but now he seems – is it that he is detached from his normal patterns, as suggested above? Free, then, in a way: at least for the moment.
Of course I complete my swerve away from the busking guitarist, negotiating the Saturday crowds – at times a distinct source of my admittedly problematic irritation with the locals: I used to think, you can tell that they aren't city folk, the way they drift around – some of that is of course affected by the many students from the two universities (can you believe that I have, at times, barked "Spatial awareness!" at groups of congregating undergraduates in the hallways of our building, an instruction suggesting reference to a broad set of concepts that are probably not accessible to them in any case, and are certainly not more accessible to them because of my barking (barking, in which of two senses, divided by different cultures of slang?), okay let's say pithy, instruction, which may be evidence of my social dysfunction more than it is of my impatient urbanity) as well as the various families and fragments of families (of course baby carriages are cumbersome, but really, are you even trying to aim that thing anywhere at all?) and people from many countries (I still think, based on four years in Hong Kong, which is admittedly actually a very limited span of experience, that Hong Kong crowds had a particular relationship to space that was tough for a Westerner to negotiate – the background assumptions being that everywhere is always crowded anyway so what's the point in trying to get out of people's way, and so they just don't).
But since my favorite part of all that is my own status as urban and arrogant, it's easier to see the whole complex mess of people as evidence that all of them are more small-town or even rural than I am. Which fits my current irritable prejudices about the English – it's Brexit, it's May all over again, these are people who have Never Been Anywhere, unless to a tacky beach resort.
So the swerve is nearing the end of its arc, but it's hitting another kind of snag: the small man with the possibly-Turkish-or-Romanian mustaches and the magazine that is sold by the homeless here. This is, immediately, a complicated situation: there was a time when I regularly gave him money, when he was at the bus station next to the other side of Marks & Spencer; but he got increasingly demanding, wheedling and manipulative, and now he always tries to guilt me into giving him a pound or two, and I have come to resent that. So, more than most of the people panhandling around (note to American urban dwellers: there are actually very few of them by your standards – just a handful scattered across the center of town), I don't react well when he shows up: I'll usually give perhaps one person, per day, one pound, or on a pleasant day two people, or when I'm busy and self-involved none; but he raises the specter of trickery, of hopelessness, of desperation, on the receiving side of my decision: he will always be on the verge of collapse, I will always be measured, as though in one or another religious system of good and bad, by whether I overcome my annoyance and give him something anyway.
But I'm continuing to swerve and have had contact with other people, partly on purpose to block his view, so that this merely produces the familiar combination of (1) irritation, (2) not giving him anything, (3) his plaintive response which I avoid paying too much attention to, (4) afterthoughts that I should turn around and give him something, and (5) thoughts that I really should feel guilty, that I have failed or been greedy. Of course in some ways (5) influences (2) – the irritation of the whole relationship has made him a repeat loser, and I can justify it internally because he has made me feel bad, which results in an entire lack of charity. Of course these small tensions are nothing to the shattering memory of beggars in Cape Town... but there's no time for that memory now, we are too many miles, or kilometers I suppose, to the north.
Behind the man with the magazine is a patch of wet pavement, which brings up the problem of the currently slightly unpredictable weather: yes, it does feel like the beginning of spring, so soon after that snow – people are guessing at how to dress, sometimes guessing rather badly, they are wearing too much or not enough, but they know we are headed out of anything you would really need to call winter. The occasional flashes of shabbiness – do I merely interpret these things because I want for them to reflect current politics, the larger scope of a more brutal government, in a country where conservatives love to ignore the North – meaning here, of course? Am I reading loss and anxiety into the commercial world of this city because I expect it, am I overinterpreting? But in capitalism expectation produces results – the pure symbolism of money is emphasized in that relationship: however much you thought you had, if the news is bad and ideas of poverty and loss are floating around, suddenly you seem to have much less. Possibility evaporates, and we're left desperately husbanding what we have while worrying about some unknown but disastrous future....
Of course in such a context getting a Clarin's facial (what is Clarin's, anyway – has it existed for long? Certainly I interpret the company name as chic and high quality, though not from any real previous knowledge, but purely from their logo and location, which tells you something about the effects of advertising, and of a special glassed-in area of John Lewis... it occurs to me that I don't even know who John Lewis is, or was – he must have been a successful businessman, like the mustachioed Selfridge in the television series) becomes yet another disconnected shard of luxury, the fragments of the massive commercialism that always holds this country in its grip. The sensate, sensual, immediacy and pleasure of the facial, for N. that is of course, is partly a justification – far better than those chunks of glass sold as expensive crystal that my mother so disliked as gifts – yet another thing to dust, as she said each time. So: something transient but pleasurable, with a real though temporary impact on the body, which for me these days translates into 'real' value – unlike, interestingly enough, more permanent but immutable objects: luxury items that can't be consumed, which don't seem very interesting to give as gifts over the past few years.
The curve past the guitarist and past the man selling the street magazine has gotten me near to the long, high, channeled entrance ramp into the big shopping plaza, that plaza which will eventually lead to the point of focus at its center of perspective, by design of course, which is the square outlined by the outer corner entrance to John Lewis and, catty corner to that, the inner corner entrance to Fenwick's, so that I am assuming there will not be monstrous legions of mothers, grandmothers, mothers-in-law, surrogate mothers and hopeful mothers-to-be, all crowding around the area in front of the glassed-in spa-in-store with the Clarin's name displayed above it, so packed in that it is impossible to get past them, so demanding and focused on their needs related to Mother's Day (sorry, I meant to say, Mothering Sunday) that I will have to retreat, abashed, penitently aware that M. was right, and this was not the day to order the facial for N. –
but nearing the entrance also gets my path entangled with the paths that belong to a group of three or five (they seem such an enmeshed group that it's hard to notice exactly how many there are) tall young university athletes in various brightly colored plastics, the last of which passes near me, checking his phone with some unnamed anxiety. An immediate sense of their youth, of their focus on some things and not others: a sense of men, as men are – attractive but also raw, unfinished, not only because of their youth but because of the singleness of existence in the body: a sort of messy, sexualized innocence, a cluelessness about what they want and will do, about whether they can confidently know anything from an individual point of view, as they run and jump, and walk around in groups, or perhaps teams, or packs. Like any gay man I'll think, hello, what's this, and look, but after a moment my impression shifts to a slightly sad, slightly kindly pity, a hope that they – or the one I focused on last, the last one to pass me, that he – will figure out what they want, what they are, and not encounter too many decades or too much misery in the way towards it.
Time and the way it passes, we only perceive the three spatial directions but we estimate the measure of the fourth, of time, by its effects: and then we speak of time in spatial metaphors, emphasizing our inability to really see it. But we constantly see its effects, in someone passing us in the street, in the telescoped awareness of past and future, in the visionary split seconds that are embedded in each person we pass, that become quasi-visible as though on a series of blurry screens in the mind's eye: what will happen to each, what happened to get them here. What they want, what they hope, what we hope for them.
Of course if this expands too much one gets the kind of strange quality I used to read in those French 'new novels', when I was fascinated with Robbe-Grillet, with Butor, later with Perec – or, most hilariously, with the opening chapter of Nathalie Sarraute's The Planetarium, where an unnamed narrator goes on and on and on about the small round door she has had made, its wood and details, the custom-made silver knob, and the dent that the workmen have left near the center of that door, on their last day, just before they packed up and left. She looks at it and frets and worries and interprets and guesses for the first fifteen pages of the novel, an amazing inner monologue based on such tiny things, internal time stretching endlessly – and what influence would reading that have on me, what is there about awareness, or about detailed unawareness, that happens in following the threads of such thoughts?
But the door is swinging shut behind the last of the young athletes, and I reach out and grab it just in time, pulling it out a section of arc while moving into the space it outlines, going through the door into the shopping mall, where I will see about ordering the facial for N., for the birthday, for M2, for....
•••
14:29 = 2:29 pm
10 March 2018 = Saturday
March 14, 2018 in Awareness, Books, Cities, Everyday, Going Out, Indulgence, Memory, On writing | Permalink | Comments (0)
'Three in the morning' has shown up in several of my published papers around AIDS since the mid-1990s. It generally refers to the same nexus of memory, feeling, implications: a quality of being in a hospital room, an anonymous room that could be anywhere, in the middle of the night; lights are very low but not out, as they never are in modern hospitals; no one is around, and you are... uncomfortable.
Mild pain, perhaps wakefulness, you can't stand this bed any more, or your guts hurt, or your leg, or... something.
It's always a marker for that point where you question everything, wonder about everything, try to figure out who you are, face the discomfort and confusion of illness, perhaps with real pain tonight, and whether you will be dead soon; what have you done, what haven't you done. The sadness of losing things, or of leaving the living world when things haven't worked out, or the anger or frustration, or the relief of losing all possible agency, of no longer even being able to worry about getting anything done, as it's out of your hands.
•••
Although this imagined room doesn't recall anything specific, I can also think, in flashes, of particular hospital rooms – one high in the UC hospital on Parnassus Avenue in San Francisco, above the city, in the mists of that chilly, gray hill with its dramatic views: a sense of being far from the everyday – it's a startling climb to get there from a low spot like the Castro/Mission area, though it's only a few blocks on the map, and it's noticeably colder, further from everything. Sort of like the city's Magic Mountain, a tuberculosis sanatorium where everything has loose emotional tags of meaning that constantly fly up in your face – but easier to reach of course.
Or a hospital room in Hong Kong, or one in Zürich, Stuttgart, Newcastle; a clinic in Adelaide, the solidly pragmatic but strangely labyrinthine corridors of the UCLA hospital....
In those articles, I usually use it as a warning against the purely political, as a contrast to the public side of HIV/AIDS, to the activist life: it always has a burden of ruthless, decisive awareness – this is it, there is nothing else at this moment, or possibly in the future: if you don't know who you are and what you are doing here, at this moment, then you never will. And there is no march or poster or benefit performance that will answer any of that for you: you figure it out alone, in the face of –
in the face of that chilly air, the mist, the high gray sky, and the city you can't see beneath the fog.
•••
I'm realizing that, lately, I have a new three-in-the-morning: in the past few years I regularly wake in the middle of the night.
For the past couple of months irregular bursts of side effects send me to take paracetamol (which doesn't have much impact, unfortunately – is that because side-effect headaches aren't caused by anything that paracetamol affects?), or mebevirine, or chlorphenamine or buscopan or loperamide or, rarely, propanolol, or of course to pee. I'll often wake with what instantly turns into a list of two or three things in my head, then back to bed to read, play sudoku on the iPad, resettle the duvet and sheets and now the micropore blanket – I'm doing a version of the old-guy-who-gets-cold thing.
It's a bit different than it was: calmer, but also resonant – every night it feels as though these shifting patterns represent a particular stage of age and health, a clear statement about the body and the status of time.
•••
And, in the past few weeks – since Norma and I went to see the televised production of Sondheim's Follies from London; since I copied most of the major Sondheim CDs into the computer's database; since I bought the train ticket to go to London to see the show live with Amanda this coming weekend – I also wake to Ohrwürmer of fragments from the show, especially the big tune that begins the overture, the one from a duet that was dropped ('All Things Bright and Beautiful').
I get it in fragments of the large orchestral version – the points in the overture that are both gloriously beautiful and a bit too loud, a bit over-orchestrated, suggesting as they do that there is something very wrong here: that the past, and memory and time, may be grandly beautiful, but they are is also terrifying by their very natures; that the grandiosity is also the vastness of our existence in time, and that we are always overwhelmed by it.
Like the Follies girls that wander the stage – especially for woman, they must hurt even more than they do for men: they are so beautiful and inaccessible, and if someone once made you up to look that amazing, they wouldn't – couldn't – do that any more; it's not possible. So, of course, the famous poster, the perfect face in its immensely monumental version – which is also cracked stone, as though that time is long past, and desert sands blow over it in the endless dry wind.
That same tune also morphs into the song version, the audible voices of Sally and Ben as they show how unreal, how broken, their dreams are: I don't know if it was supposed to be young Sally and young Ben, before everything becomes horrible, or if it is old Sally and Ben, and she is in her impossible fantasy where it will all work out. Either way, a painful fragment of song.
•••
Sometimes other tunes appear from the show, or other fragments of Sondheim – but mostly, for the past few weeks, it is that song: it's automatic, it feels as though it's been running all night before I woke up...
It's recalls Buddy's lines, that shift from normal to disturbing by the placement of that one wrong word, of saying 'bad' where we expect him to say 'good':
"I see it all. It's like a movie in my head that play and plays. It isn't just the bad things I remember: it's the whole damn show."
Those lines are a warning, a threat, that when Buddy goes into the past it won't be a fun trip; that the past is bigger than we are; that nothing we do can reduce it in size and power; that fear and avoidance win us nothing.
•••
This is also resonant because, for years, I haven't been willing to play Sondheim's music, or put it on the computer – together with a lot of music that is emotionally affecting in some way.
Yes, that does clearly represent a fleeing-away, an avoidance, a helplessness... there are a lot of difficult emotions tied up in Sondheim for me, and things in me do go 'twang' or 'ding' and then continue to resonate in the wake of many songs, chords, lines. Like the ones mentioned above, or the collapsing world of Pacific Overtures, or the ironic despair of Company, the waltzing, unfulfilled longings of A Little Night Music or, perhaps saddest of all, the real emotions discovered in Passion....
How does that even fit in with the image some people have of Sondheim's music as cool and unemotional? Well, it doesn't, and I can't make those two things fit together; that response simply makes no sense to me.
And, even if sadness and loss is embedded in this music for me, why is it really so impossible for me to listen to it?
•••
There's an echo here of other works of tragic masochism: that way that we can focus on the way the world has hurt us, and identify with it so much that we keep doing it to ourselves, endlessly. We've been reading Forster's Maurice for the gay and lesbian reading group – not as unreadable as I once thought it, but lord it is a mess, isn't it. And the incoherent bits all go through his own ability to see himself clearly: because he can't bear to look at the awful thing he has made himself into – any more than Radclyffe Hall in The Well of Loneliness, another tour de force of self-harm....
•••
Well, from my angle, this is what has changed, at least partly: for some years such music/feelings were unbearable – it wouldn't be too much to say that entire emotional worlds became impossible for me to enter; around the time when it also seemed that (do I even want to construct this sentence? but it's true, so the words must be put together) that, because I would live here, alone, in a small northern city, for the rest of my life, I wouldn't be able to face strong expressions of sadness.
Or, for that matter, a great deal of the music I'd spent the last few decades studying or explaining: or a lot of books I used to read, or meant to read.
(Yes, I heard it too, I've just set up the melancholy-and-mourning distinction. Figures.)
As you can imagine, this hasn't really helped me produce research, for the past fifteen or sixteen years... in fact I think it's been a bigger problem than I realized, until lately.
•••
But now: now is somewhat, slightly, different.
In the past year or two, those large shifts in meaning, to where my life doesn't seem such a failure, such a loss: it is merely what it is. I've tried to explain this in other blog entries, so we'll take it as read.
And they moved us into our new offices, after two years adrift: my new office is smaller, less grand – but I've realized in the past few weeks, as I put books on shelves, that it is all more accessible, both physically and emotionally. It is not at all difficult to pick up all the books that refer to ancient projects – and prospects of writing about, or discussing, charged musical topics seem simply interesting, possible – neither too fraught with loss and the weight of failed hopes, nor too distant and cold and unapproachable.
Which doesn't mean I'll get around to writing about them – but it does definitely mean that it doesn't seem difficult to write about them. We'll see about the practicalities, of course, but the sadness and inability are simply... gone.
•••
And probably that is why listening to Follies, to Company, to Passion, is not unbearable now – those shows are no longer too close, they don't cut too deep.
Clearly the pattern of notes still sticks in my mind; and clearly emotional associations and projections onto Follies, onto Sally, still exist for me. The tunes and words recur in my dreams, and drift through my day...
But they aren't impossible to hear; nothing in me freezes or languishes as a result.
I can put the music on the computer – along with Bette Midler, with Mahler, with Schnebel, with Manhattan Transfer – and they can take me back to different decades, to different cities; but that isn't a painful journey.
I'm not too close to Sally, now – not crushed and self-lacerating; if there's no Ben, not now or ever, then okay, there's no Ben.
Instead it is somehow easier to move past Ben himself – the role I'd be perfect for, of course – to Phyllis: so, make hope, and it's the hardest thing you'll ever do.
•••
And I wrote this starting at 3 am – that time I've spoken about so often – and now it is 4:47 am; and I'm done I think, and it's time to return to bed.
Comfortable, no annoying symptoms.
No sadness, no disconnection.
Sleep....
November 23, 2017 in AIDS/HIV, Awareness, Cities, Exile, Illness, Memory, Psychology, Stage | Permalink | Comments (0)
The eleven-year anniversary of this blog....
Well, hey, it matters to me. A bit.
After a brief but unpleasant virus – probably caught on that hasty train south and back – everything has a slightly disconnected feel to it: still coughing occasionally, but so what?... work to do, but really, who needs it?...
Shower, laundry, get myself dressed enough to go buy cough drops... then home and a Skype workshop, prefaced by a 'recovering, so everyone go away' message, and watch without participating.
The overlap in the past few years of analysis, the resultant digging in deep cellars, a vast increase in meaning, followed by a recurrence of that life pattern where fantasies of things I thought I wanted are taken away at a level beyond my control – perhaps this is the pattern I struggle with: a pattern about which I'm happy to make stories (like that last blog post), but uncomfortable accepting as truly mine.
And maybe that dislocated, dissociated, quasi-schizoid space between waking and sleeping, between sick and full of medications and awake and recovering, is always and innately the best place to see all of this...
Yet, disconnected. Not quite like a Kafka, or PKD, story – this is calmer, but it highlights the slight unreality of things....
•••
Spring, with clouds and some rain.
Awareness, with some darkness.
Return to health, with some coughing.
•••
Eleven years of occasionally writing, here – 753 posts, so that makes... 1.3 posts per week.
Time, space... a nearly Buddhist sense of the contingency of decisions and actions.
I may cancel some plans... that seems reasonable enough. Like reducing noise levels.
•••
You'd like the sun: that North Sea slanting, pale light, but brighter than usual – it would be beautiful to paint it....
May 14, 2017 in Awareness, Blogging, Illness, Memory, Personal, Psychology | Permalink | Comments (0)
Maundy Thursday. In the night I wake coughing – side effects I think, but perhaps I also caught a minor cold on the train back on Wednesday. Paracodeine (given to me by Antonio, a couple of years ago – I had the flu in Zürich, missed most of the classes that month; on the last day Antonio, who is also a cardiologist, wanted to meet at a café before he went home to Milan – I kept coughing, he finally threw up his hands and said, Enough!, got up and walked into the pharmacy next door, wrote a prescription for this codeine...) – it helps, the cough gradually winds to a stop, and I sleep...
***
Good Friday. I wake, only a bit groggy, coughing intermittently; wonder should I cancel my one analysand today... The news mentions a largest bomb, non-nuclear; I make tea. A few minutes before she arrives I am dressed and presentable, the middle room vacuumed. We return to a dream from the previous week, her church and its stresses, old emotions and managing strategies, and I say: it's Good Friday, an interesting day to look deeply into this – getting in touch with the fear seems terrible, like death, descending to hell, but then....
When she leaves, I am steadier but still a bit tired, and so sleep on the sofa for an hour. I wake remembering – something, some dream fragment now evaporated – and I realise – thirty years ago this month, April 1987: I was thirty years old. Diagnosed HIV+ at the Gay and Lesbian Community Centre in Los Angeles. The psych student volunteer who gave me my results was in training to be a Jungian analyst, and I agreed to start analysis with him, which would continue for five years. I gave up on composing forever, after finishing a set of small songs based on Japanese death haiku. And I won a travel grant from UCLA to spend three months in New York, finally meeting some famous composers I'd always wanted to work with... a visit where, walking home from the bars late at night, I saw the black-painted storefront of the Theatre for the Ridiculous covered with flowers and candles and cards, mourning Charles Ludlam after he died of AIDS.
How could I have forgotten all that?...
***
Back to the Saturday before Easter week. In the middle of the day I am angry, astoundingly grim with M. and D. as we sit having lunch on a lovely sunny day. They put up with me somehow, eyebrows raising as they look at me.
That evening I go to a bar where R. and F. are celebrating R.'s birthday – everyone is there, and glad: glad to see each other, glad to be here. At one point I am euphorically happy, sitting on a bench at the small dyke bar that we pass through later... I go home a bit earlier than the others, and sleep deeply.
Such changing emotions. What charged energies have been appearing, what dominoes falling, in these weeks?...
***
Palm Sunday. The previous week's analysis session was so charged, so emotional: not because of any story or memory, but because it reached into something... too hard to explain, I'll leave it aside. I'm not surprised when I start to remember intense fragments of dreams, after months of remembering almost nothing – although I am surprised at their elemental incoherence: not stories, but a more basic level, from unexplored distant islands of the unconscious. I record:
At one point I’m looking at myself – that me is facing or looking at something else; from my viewpoint I see myself sideways. Later there is some kind of electronic gate between us; he/I tries to come through it towards me, somehow in a threatening or dangerous way, and is horribly burned: it is an electric fence of some kind – he will be very deformed when he recovers…
I have a sense of seeing myself split off in some way (which seems connected to last week, and to Legion, with its schizoid subpersonalities and possessions.) I’m not upset when he’s burned, I’m relieved that he can’t get at me.
***
Monday. I wake impatient with myself: email all three editors, apologising – briefly (a couple of weeks ago I got a bit hilarious with an analysand who was apologising, telling him: you can say sorry just once to me, you know, you don't need to take care of me; my impatience folding out across work and life). All three editors respond within an hour, not irritated – kind, but clear: you're still okay, but not for much longer. A sense of easy clarity: anxiety recedes.
***
Tuesday.
Another dream fragment, just as vivid, but from a very different direction.
A recurrent image; comes up twice, as I wake twice on the same morning – some television travelogue about something called a cughol or kughol, something that looks like archaic Korean. The narrator describes pots for fire or for food, or both – they are on pillars, about one and a half to two feet high with a covered bowl on top, all pottery or with wood or reeds beneath – they seem to have been floated on rivers or the sea, weighted to stay upright, with fires burning in them – they are seed, which is obviously both symbolic and physical here.
That morning, I launch into the third article, the one that is the least finished but soonest due: and then there are five pages of... well, stuff: it needs to be made coherent. But there is something being said.
***
Ash Wednesday. I awake and push myself through the morning, some combination of impatient efficiency and – well, frankly, weakness: my hands are shaking slightly, if I could I would just lie down. Though I am wondering, should I cancel the train to Sheffield for analysis, I keep getting ready – print two copies of the dreams, microwave frittata for the black bento box, shower, even some actual shaving (okay, trimming). I leave, exasperated that I have to get on the train at all –
Table seat, computer. After some reasonable work and email answering, the pad and ebooks. By the time I arrive I am no longer shaky, though I intend to talk about my circumstantial irritation....
In the room, I tell him that I had a doctor's appointment, and was frustrated by my doctor's disinterest in side effects. For nearly a year I'm talked of changing doctors in some oblique way that won't annoy anyone (okay, only one person might be annoyed); as I'm speaking, I think: to hell with it, I'll just do it.
My analyst, who retired from psychiatry in the NHS last year because of his own health, says: you have looked jaundiced at times lately; it would be good to have someone paying attention to that.
Other people keep trying to treat me either as ill, or as not ill: which doesn’t work – I’m partly both, and battling over doing things and not doing things, being energetic or not, is exhausting. B. laughs in recognition: his MS has given him the same experience – people have such an exaggerated capitalist sense of working all the time, or doing nothing, they can't simply... back off, be flexible. I remember first being in Darmstadt, in Berlin, in a villa outside Rome, and seeing that continentals don't feel they have to work all the time... they do far better work, too....
B. is very interested in the dreams. Technical discussions: dissociation, charged emotion. I think of Kime's lecture two years ago, his startling approach to shadow: that it is dissociated fragments of memory and self that have been lost to time and consciousness. Such fragments may not seem dark or dangerous, just... incoherent.
***
We talk through the first dream, my psychotic self, the electric fence. B.: This is the defense. P.: watching him isn’t connecting emotionally – we are really detached, there is no sense of twinning or anything like that. B.: You’re really frightened of him… You know, it must be terrifying to be a sub-personality: no one else even sees you. P.: It's like the image from Legion: a personality locked in a box, underground. B.: The defense system is so powerful that it burns him. P.: And in Legion, as he tries to marshal his strength, the enemy becomes exactly as strong, because....
B. asks me to feel my way into it.
I do what seems the only thing there is to do: this howling, scarred fragment of rage, that is just like me, that is me: I reach for him – imagined production values recall various television and film images: crackling with power, irregular explosions, amazingly chaotic noise – things exploding off shelves – pull him in to me. (The real and present me is tearing up). I hold him, it’s the only solution and the right thing to do. It’s like holding a horribly wounded animal or child – I don’t expect him to understand, I’m the one who must hold him, because I’m the conscious/human one: he/I is only a lost fragment that doesn't exist in time, or reason.
***
P.: The abbot’s story was also about dissociation: I am arrogant and careless, not paying attention – it’s not until everyone is dead and I’m sitting bleeding to death, and can’t do anything except remember and understand, that I am forced into awareness. B.: the electric fence – trying to keep out this part of yourself – in the same way the abbot dissociated when talking to the pirates; but there comes that moment where it turns around and you can’t avoid it any more. P.: This is the chunk of raw emotion that stands behind the abbot – raw because thoroughly unconscious, unprocessed.
I am extremely tired, sitting here, in this room. The room is saturated with a sense of recognition: I realise why I have been so impatient with everyone else, for weeks – this is so important that they mustn't distract me.
B.: that is the electric fence.
***
A sense that both dreams are from the same place – opposite in terms of light and dark, but at the same deep level: and one of them opens up the other. The second, almost Vedic – old rituals, life, fire: I wouldn't have dreamed of that, unless I had dreamed the electric fence, the burning body and raw screaming face....
Legion is a useful source of images: especially because so much of the processes suggest intense dissociation – it does of course add ideas of invasion, magic, superpowers, but the writers are rather casual about all that, and are clearly really going for complexes, dissociation, the schizoid....
After the session, going home on the train, I can still sense that raw pain that isn’t caused by anything – which is what makes it raw, and why reason doesn't touch it: it is a chunk of unaware darkness, unconnected to time or memory.
***
Good Friday. In the evening, after a relaxed Skype with M. and R. – who have become so comfortable together, and M. is always smiling when we speak these days... I make a mixed rice with smoked salmon and leftover vegetables; it feels like comfort. I sit and write in front of the television.
***
To bed. The same images arise, as they have for the past three nights:
Then what do you do?
I hold him.
And, as I have been doing, easily, as the most natural thing in the world, I roll onto my side in bed, holding him still... until we sleep....
April 15, 2017 in AIDS/HIV, Dreaming, Illness, Memory, Personal, Psychology | Permalink | Comments (0)