August 20, 2023 in Memory, Music | Permalink | Comments (0)
[A post drafted in late November 2020; I have moved on from these things, a bit... and incidentally am now firmly of age, at 64. I apologize for the fragmentation: unfinished work, with later attempts to recapture some of the original content, and then some scraps of things I wanted to talk about – two and a half months ago....]
Mood is an interesting problem in psychology... mood disorders, CBT and medication to manage mood... if emotion or feeling is like the weather, then mood is more like climate.
In the time of strangeness brought on by COVID-19, I remain mostly pretty calm... but with occasional bursts of confrontative anger: I'm still intermittently a bit of an asshole, often right and sometimes wrong but always too direct, with various people. It's easier to recover than it once was, and fortunately it's easier to control myself and simply not respond....
I had a fairly major test of my still-and-probably-perpetually-clumsy ability to control my own emotional responses a couple of weeks ago: the online presentations of famous Jungians that we've been holding for six months, with marked public success, peaked in a book launch with Sonu Shamdasani, editor of the newly published Black Books by Jung. This collection is such a coup of research and background – I still find the Books almost unreadable, but Shamdasani's excellent introduction leads towards some possibility of understanding, and it keeps feeling as though real attention to this kind of creative work could have a real impact on me: a sense that change and growth remain possible, even two weeks before my sixty-fourth birthday....
Sixty-four: such a pleasingly solid number, one that always seemed to anchor the multiplication table among the weirder linkages that led to fifty-four, fifty-six, sixty-three, and the last familiar outpost before the chilly Plutonian distance of eighty-one. Now, of course, in an era of computer-driven binarism, the number remains solid and familiar, though it has a slightly archaic charm – back to the eighties and nineties, when we still cared about numbers as small as thirty-two, or sixty-four... a bit like telling them inattentive youngsters about diskettes. Which now feel nearly as far away as corsets.
In any case, our management of Shamdasani's online talk was friendly and enthusiastic, but fairly clumsy and crude, especially through the technology. This is hardly new: my lifelong involvement with the split between a polished performance and a sloppy, that's-good-enough presentation has resulted in an article or two, as well as many of my greatest or most recurrent anxieties. (It's probably the largest obstacle facing me now, as I fight with myself to write a shortish book based on my own lucid outline... the writing of words that are good enough should not be difficult and yet, always, for me, it is.)
Over the months we've been doing these online and video presentations, I've forced myself to accept being publicly sloppy (not, of course, for the first time). Having one presenter wish to rip my guts out when I couldn't play the short video he'd wanted (a Zoom update wouldn't allow VLC to function, and it crashed... and I spent nearly ten minutes battling in front of ninety or so Zoom attendees to produce some kind of audiovisual entertainment, and failed utterly) was a dramatic recurrence of these anxieties. It was interesting to respond to that disaster with a certain distant coolness – I apologized profusely of course, but after that there seemed nothing else to do, and it felt like a mark of maturity that my internal response was summed up in the immortal words: oh, well.
***
[At this point I'd planned to tell the tale from November 2020: a clumsy video, with far too much noise in the emcee's wifi connection; and some irritatingly and, for me, pointlessly aggressive questions; so, when Shamdasani asked us not to post it... well that led to strife and argument. Some members of the radical (that is to say, even further left than me) wing of Jungians regards Shamdasani's closeness to the Jung family as proof that he is a kind of collaborator, someone too closely linked to the old Jungian association with the self-protective rich... though I must admit, if there's one area where I have sympathy with the one per cent, it's in the trampling judgment of private individuals by the world of media.
In any case, as far as I'm concerned, Shamdasani is a solid researcher – more than that, really: one of those researchers that make the great mass of academics, historians, writers, and scholars look carelessly sloppy. And his dislike of being poked at – some of the questioners were pointlessly aggressive; and his preference for a polished presentation – the video book launches that he did approve were considerably more elegant and planned than ours – suggest to me some perfectly reasonable values to be held by a rather shy and seriously brilliant man.
So, when he didn't agree for us to make our video public, one person blew up, and many of the attendees were disappointed... but as for me, I thought: okay. A reasonable enough decision, and not a great loss. But the tempest, though it stayed in the teapot and ran for less than a week, was tiresome...
Perhaps I experienced it, also, as a rebuke of my own vanity: the success of this series has been remarkable, and I like people telling me that they enjoy our work, paying attention to my opinions in the Jungian lists, considering me Of Significance in the Field. A bit as I've been intermittently in musicology, since my career high points in the nineties and early two-thousands; as I've said before, of the seven deadly sins, vanity follows close behind envy for me.
So, I suppose this was a kind of perfect storm, for me: and I'm pleased to say I could let it fade from sight with relative equanimity...]
***
Listening to music: I seem to have fallen into Sun Kil Moon and Kate Bush's Ariel, both of them styles that have a distant, thoughtful quality – moods that are generally calm: even the sad or the angry work is so tempered by time, or distance and (sometimes, with Mark Kozelek) a mildly alcoholic numbness. I am more comfortable with such moods today than anything else... or anything I've heard in some time...
Perhaps it's the quality of intense feeling held at a distance: not blocked, not refused, but not... indulged. Not exaggerated, not made into spectacle, let alone tragedy.
Which seems to give more space for really, well... feeling it.
***
Mood: a sunny northern day.
[And, two and a half months later, it is a similar kind of day, but this time with snow: and a clear sense that it will be the last snow – that the original and revisionary chunks of this entry bracket the enforcedly quiet winter of 2020-21.]
The background climate of my life is so different than it was even five years ago – certainly than it was ten years ago, let alone forty... I am so different now (though always of course still exactly the same).
Calm about things that used to seem impossibly difficult; and a bit testy about the insistence of so many who are safe and warm, so taken care of and free from the real, terrible worries of earlier centuries and real poverties, on creating worry, anxiety, even panic, out of such minor elements as having to wear a mask, or not being able to fly somewhere for vacation; or not seeing their grandchildren at this year's family meeting...
Riding the larger climate of anxiety, or relief around COVID, the American election, Brexit, and the Ragnarök of the massively incompetent governments of the English-speaking nations (except, of course, tiny, blessedly honest New Zealand).
[And now, in February, COVID continues, with people seeming a bit more rational, more sane in a realistically irritable and anxious kind of way - somewhat like way we were when we crossed that great line in 1996, when AIDS went from being the horrific end of the world, to an everyday, human, temporal kind of danger...
And of course the American election moved through a ludicrous and embarrassing crisis to a consummation devoutly to be wished, and Brexit actually took place, though without much visible impact in this weird half-life world; so the tangled overlay of what are to me hugely awful or mercifully recuperative have moved around, the strands twisting around each other in constantly refigured patterns.]
I seem to watch them all, slightly disengaged...
***
And now we are getting notices from the university that look towards a post-vaccine world: they might be a little premature, but I think I understand the mood.
And for the first time in months I imagine coming back to an everyday, though of course changed, world: admittedly with a little resistance (I'm comfortable here, don't drag me outside... it's a bit like not wanting to wake up when I was young, when my mother would play the radio loudly in the kitchen: the whole scene colored by her moods, which were cheerful and funny but anxious – she tended to worry endlessly, what would happen to us, would we wake up and work enough to survive – and I did end up as, of course, her greatest worry).
When I do get up it is so beautiful, this chilly sunny northern day. A consideration of where I am now: in a post-COVID I may get to revisit ideas of moving – in my own neighborhood, to a larger house – or, would it be possible to go back to those ideas of an apartment Barcelona, a shared country house in northern Italy?...
And a smaller range of issues: I would see analysands live again, and that would be a pleasure. A bit more reorganization and retooling: and I might finally get to meet some of my online patients live, for the first time.
I assume that the university would combine aspects of simplification and a return to normalcy (we would be back in classrooms, glory be, so much more alive and less attenuated than Zoom classes) with bursts of overblown institutional anxiety (I hope my more more anxious colleagues won't go into elaborate overreactions – we have at least one person who would feel a need to generate frantic questionnaires, instructions, policies, control systems to check whether students and academics feel overburdened... a problem that contains its own genesis, of course).
Life in town would return to – well: not the same, not recognizably normal, but –
And this disastrous government would continue to drag us down. I assume that my students, ex-students, friends, analysands, acquaintances – all the ones who are in more anxious situations under lockdown – would again be able to find employment and money. Depending, of course, on....
I assume we all know that, after we come “back,” people and systems and many things will be very altered. Some in good ways, I think; and others will not be able to continue.
A return to normal will not be, of course, a return to normal.
But at the moment, today at least, none of these things have any real sting or demand in them.
Moods, which are like climate, rather than weather....
February 11, 2021 in Books, Music, Psychology | Permalink | Comments (0)
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)
Dark of the year.
Winter solstice, full moon, close to each other: death and life.
As everything gets slower, calmer, there is a lot of time – and a lot of mental space....
All my analysands seem charged: some are very present to themselves, you might say. In many sessions for the past two weeks or so, there is a sense of moving through large spaces, with a great deal of implicit weight and strength and attention – as though a sort of existentially massive awareness, at this point in the cycling of time, is... easy.
•••
Sleeping is restless. The experiments with the timing of medications are over; it is clear that I am better off when all my HIV meds are taken at the same time – about 5-6 pm, whenever dinner is – but taking them in the morning was disastrous... yes, it's true, the side effects are a bit less, and they last a shorter time when I am awake and moving around; but on the other hand being queasy and dizzy for two or three hours in the middle of the day is not reasonable. I actually tried to teach a couple of classes that way and, to be frank: yuck.
Moving the pills back to evening was not a difficult decision, especially as my primary impulse when I was sick was to go and lie down until I felt better, so... let's take the damned things when I'm lying down anyway.
•••
But the past few nights are restless – many headaches and paracetamol. Alcohol doesn't make it pleasanter – though perhaps it doesn't really change things at all.
Tonight I went to bed before 10 pm – very early for me; so perhaps it was reasonable to get up before 2 am, answer some notes, put oatmeal in a bowl to soak for morning; make and drink some golden milk.
Copy a CD or two into the computer, all the while thinking of the dazzling new world of music P. is advising me on: higher quality sounds, easily available through a server; turning all of these CDs into mp3s starts to seem a bit pathetic in comparison. Ah well – a life filled with many symbolic objects in many forms (books, CDs – DVDs, videos, minidiscs, cassettes – electronic files, papers, notebooks – laser discs?) means that there have been so many chunks of information, and so many databases, real and implied, in my life... I am finally, at the age of sixty-two, realizing that maintaining all those materials and forms and objects and databases is.... not terribly important.
A bit more interesting to listen, to read, to see, now.
•••
S., a friend of D.'s, came by to have a long dinner and talk on Wednesday – about my LPs (he will help me sell many of them, though he thinks I should keep a lot), and his prospective return to a doctorate as a mature student (I gave him, with both barrels, the entire talk: the PhD should be something you care about with passion – everything else follows on from that point).
•••
And last weekend! I don't feel like talking about that so much now... the longterm survivors weekend, at a country house near Stafford. I started depressed and disconnected, but was relaxed and comforted, even happy, when I left.
In fact, is there a lot to say about it? I made a point of connecting with a lot of the people there.
Perhaps it is enough to say: it was good. It was needed. I'm glad I went.
•••
But, on this night, it is now three hours later – I'm still not quite sleepy; could return to bed, but am still filled with this sense that – I must do something for, with, the solstice. The moon. The dark of the year: some observance so that it is not lost – or, more accurately: so that I am not lost, so that I don't lose whatever connection I may still have to deeply charged things – so that I don't fade and vanish from the world.
Grabbing onto the ancient, the archetypal, in order to remain on the planet: does that even make sense?... no matter.
•••
I've been rereading my dream log for 2018. It has worried me a bit that I haven't remembered many dreams this year – there are only eight pages of dreams and notes, as opposed to more than fifty pages last year, and more than sixty the year before.
There are several distinct concerns here: am I pushing too hard to interpret my own dreams, so that they have decided to hide themselves, feeling offended/manipulated by my Faustian insistence on being too knowing, too aggressive?
It wouldn't be a surprise; there's no doubt that is one of my faults as an analyst. (Note to self – in addition to the Jung-Institut thesis, which I must, must finish by April, there is still a leftover seminar paper due... the one where I decided to write on the analyst and his arrogance. And yes, I know what I need to say there.)
Though I also know there are other, perfectly good, excuses for not remembering dreams – the medications make me wakeful, sleep is erratic, in the night I am often distracted by side effects; I am an older person, and older people dream less; I am no longer in my own analysis. All understandable reasons why I wouldn't remember many dreams.
•••
So: celebrate the solstice, connect to time and change, the death and life of the year.
Here, then, is my chosen observance: a double handful of dreams and memories from the dying year.
•••
8 January 2018. As I wake, with some gut pain, there are fragments of several dreams floating around – one involves visiting New York, realizing Joan Rivers is old and probably not completely coherent, and deciding to visit her – she won’t remember me, we only met a few times… And then, in retrospect, I think of having visited her twice in this old, senile state, but with affection.
11 January 2018. [Reading Susan Bach on drawings made by children with cancer, grieving a bit at the book; and that sense that I may be too weak/ill to complete the Jung-Institut degree, or continue working, and that death looms… got up in the night and went into the living room to touch my books: and, comforted, smiled – even if I am ill and inactive I’ll have my books, and that is such a pleasure. I won’t go out in frustrated boredom.]
12 February 2018. Dream fragment while in Zürich – the end of what seemed a long, rich dream. In a large, darkish house that seems to be mine; one is sitting at a large table keeping records or writing, another is wandering around; probably both are me. The second me comes up to the table and steps onto it, it is a pool – the first me hastily gathers papers to get them off the table – the second me says that’s what he needed to do, he knows that he interrupted the first me, but this is what mattered.
6 March 2018. [Dream fragment] In a sort of business office for a small business, in a shopping center or business building, I remember several of us there and talking to a younger, shorter man with sandy blond hair. I go away, and come back a little while later – there is a scrawled sign pasted up inside, over an inner half-door (I can’t remember what it says); I turn around and he is there, smiling, and he says: Where else was I going to go. I want to hold him, he’s come back to be with me….
28 May 2018. ... As I come downstairs there is a large stone sculpture, one that is balanced rather than on a flat base – it is like a frog, but it is brightly colored across the top with the green image of a frog at one angle, but it tilts (naturally, on its own, at regular intervals) to the side, at which point the color vanishes and image fades; then it shifts back and the image returns. One of the men leads me to a nearby space where a number of these rocks – they seem partly natural and partly made – similarly rock back and forth; something about a natural split or flaw in them that causes them to shift, irregularly, and change appearance, at intervals; they’ve been sculpted into forms for this collection.
18 June 2018. The dump. I’ve moved into a new apartment – it’s in very poor shape; a friend is staying there, a woman, and she notices the cockroaches, and is disgusted. Three people, the woman (a cleaner?) and a man and someone else are there – I finally say, look, I need help to make this place livable, can you help me? They agree to do so. Everything is beaten up – it looks like a ruined but rather grand old place from a previous century, almost like a tropical place.
13 July 2018. A dance/theater practice or workshop – detailed, long, have forgotten much of it. At one point I am standing on the sidelines as a woman comes over and finishes something with a series of moves to drop to the floor – as I am standing next to her I turn around so she can use me as a support; she gets it immediately and we move together, it is enjoyable and interesting; a sense of involvement, with a bit of my usual care to stay out of the way of being judged as a performer. Then there is a break – there is a clear timetable, people are going to do various things during the day – a sense of increasing professional involvement, of pleasure.
2 August 2018. Big city, large modern apartment block – steel, glass, shiny; I have a large new apartment in it, which is in some ways old-fashioned, like a Japanese traditional house, with elements of transitional or unused spaces. Some drifting/changing fantasies, including sexual ones, but also some handsome men who come by and leave – I remember seeing them downstairs, coming back into the building in a robe and in disarray, but comfortable with it… Very loose structure, but a lot of detail, beautiful, comfortable, upscale: a dream of a pleasant life. Wanted to stay in bed, eyes closed, and stay with it for hours…
9 September 2018. Dream – end of a long dream. I have been traveling far through a long trip – across deserts, perhaps – with a big man, who is increasingly cynical and bitter, and who carried my bag or backpack, taking it from me in the middle of the journey. When we arrive he doesn’t have it, and doesn’t care – it is lost somewhere in a long trip across many places. I am desperate and enraged, and I attack him – it had everything in it, I can’t even remember what was in it so can’t start replacing it. Later, a woman, cynical – she seems to have lost my bag (she may be him transformed into another figure); I remain enraged and hit her; but she finally seems to know where something might be – it might have been left by one of the servant women when she was taking care of children, and she may be finding it for me. The two of them are like Vince D’Onofrio, and Madonna, perhaps, but they don’t seem like stars or dazzling in the dream. I am full of rage and grief, and they don’t seem to care. It’s strange and unreal when I might get everything back at the end. At one point, the man wants to climb down into a huge deep, very dark, area carved into rock, or built from metal, which seems industrial and has a metal ladder that seems to lead down; when he goes over the edge I am horrified, but then it is clear he is standing a ledge that is just a few feet down and in lighter colors, and it’s not so dangerous; it has a ramp that leads downward more gradually.
19 September 2018. Wake, middle of the night; among scattered thoughts an image – imagined or dream. As though a camera pans across a dark room, a number of human bodies piled up – heads aren’t visible, might be parts of bodies, all strewn along the sofa and chairs; all like the aftermath of some terrible carnage. The image is shocking but not emotional – I try to hold on to it to see how it could have come about – imagined anger or horror, a nightmare fragment?
28 October 2018. Big old house, large family – I am a guest. The family is lively, energetic, funny, distracting – and I have work to do. They are all going away, to different things and different projects, over the next year – I will be here, mostly alone. The room that is furthest in is a bit dark and dull, with plain, cheap surfaces, a large dining room table, a table that had been mine, and another one; the middle room is livelier. I did have a desk in the middle room, it’s been moved. I ask, where am I going to work? Because my desk is gone – I wake from the dream before they answer.
12 November 2018. Dream fragment: in the back of a book, there are advertising pages of other books that are available – but they are from different publishers, and some from an amateurish publisher. Many of them seem to be about time and awareness, in different kinds of tale/story form; some are more essays or science, also related to time – I am interested in these and circle some of them…
18 December 2018. A remembered dream: a young man who doesn’t want to talk to me – is he my son, the son of someone else? – someone who refuses any contact with parents or adults. I get him to come out through his front door, but mostly he shuts me out. Thinking as I wake: is this my relationship to my own dreams? Do they shut me out because I keep trying to be right and in control?
•••
May dreams resonate, for me and for you, and for the year.
December 22, 2018 in AIDS/HIV, Awareness, Dreaming, Music, Psychology | Permalink | Comments (0)
Perhaps the problem is one of time...
Yes, I am influenced by finally (i.e., at a later point in time than anticipated within the implied framework of some unspecified but apparently familiar system of planning) seeing Arrival.
But also wandering through spaces of analysis, self-reflection, mild illness, trying to get some writing done. Late, of course.
Time awareness past: memory, and apparently modified memory. Patches of time remembered as such, which are distinct from those remembered as still, or non-active though still breathing and living, tableaux. Areas of emotional memory that have their own life – most of them not terribly charged, but reflective.
Time projection of the future – which for me also has embedded clusters of anxieties: that which is not completed, that which might happen.
And the relatively broad, seamless stretches of idealised future circumstances, of being in some situation I think I have wanted – Barcelona, a partner, a cafe with friends while traveling – and being aware, as I often have, that the relatively undetailed quality may suggest a problem: that my imagination of my own future future tends to have a bit too much fantasy in it, which accounts for some of the weaknesses and the scattered results in my life. But that is my nature, and I don't hate it: it just suggests a need to pay attention.
The vastness of death, of existence before a certain time, and then after a certain time.
Wanting to see futures: not merely to continue existing, which hasn't seemed terribly interesting for a long time, but to continue living into a time of interesting change, hopefully positive change. Because of the change, more than anything, I think.
(Recall that dream a few years ago: a half-drowned San Francisco – the one where I sit on the open balcony of a Victorian high in a hill above what was Noe Valley, now largely submerged by the sea –a warm, mild sun across the islets of the altered, now quieter city, and we see occasional small boats between them: I am old, and I can hear someone I love, but cannot in the dream see, making a small meal in the kitchen – a dream suffused with time: and the dream-me is happy...)
***
Today I was mildly groggy/cranky – after about a week of mild side effects each evening, after I take the more obnoxious pills – today I met with D. on my required report on research plans – then emails – the computer is slow, I send yet another irritable message about it – an afternoon dotted with current prospective students – most have problems easily resolved...
in the midst of this I played, on the computer, Chris Wood's 'Walk This World with Music'. Eerie, dark, and electric: the dull world comes alive, and time dances with sudden energy –
The music itself tends to do slightly strange things with time: double-stopped chords, lots of open intervals – which always makes the music reference eternity: flashes of organum, pedal points, drones, static harmonies – and beginnings and ends of phrases are sort of curled around themselves in pitch and rhythm to catch and carry you: this is one of those pieces that pulls you into the rhythm, and you dance, alert and fast and defenceless.
***
Some of this strange relation to time is from analysis: as though in the past year I walked, sometimes fell, into deeper caves in myself – times of floating awareness, of contemplation.
And the framework of anxiety that would normally make me anxious in relation to those times: that I am never doing enough – that armature seems to have fallen apart, joints rusted and weakened, the structure of embedded guilt twisted and disintegrating, fallen across the pavement in twisting, collapsing lines.
All this is sharpened by my rather cold reaction to the dull world – political stupidities on both sides of the pond, the sharp focus on what I want and how to get it: assuming governments, laws, economies and institutions will not be my friends, calculating –
Which means that this floating time sense, archaic chunks of unfinished selves, are not distractions: they feel like important realities – in any case more energetic, more alive, than the pathetic realities of a bemused and chaotic world.
***
Do you know Nowotny's Time? A book recently suggested by an analysand – and that led also to the International Society for the Study of Time, which she used to head. Yes, of course time is a mystery, of course we are embedded in, creatures of, time: but even thinking about it begins to illuminate the caves we walk through....
***
I hope I can finish the articles – I like my editors, and don't want to mess up their projects; and I also focus on the Jung-Institut, on writing and research and stuff that the university, the patient group, various people, want me to do.
But yes, there's a slightly disconnected calm behind it – a sense of: yeah, whatever.
***
Because time is so vast: I'd rather watch the world slowly wheel, clouds drift across the sky – the heart beats, and I know that it won't do that forever. My own life and death have seemed especially – well, contingent, or perhaps, incidental – over the past year.
This is not a bad thing... it is not even an uncomfortable thing.
***
Looking across time: a widened view, not quite in focus; but taking it all in....
Putting aside a few things, to take the train to Sheffield tomorrow – I am only seeing my analyst live once a month, at the moment – I recall that on my last trip I was looking through all the pockets for a pair of earphones, which had somehow gotten misplaced...
Look, here: tangled with older sets of earphones, something with a rather trendy shape, sort of like tiny hairdryers. I think they're the earphones I bought in some airport or other.
I disentangle and wrap up three pairs, then take the newest ones and plug them in, looking for the jack socket... just testing.
And... at first I think, a bit loud. And then – oh this is gorgeous: yes it really is.
Stunning sound. Chris Wood's version of Jerusalem, which was making me sad a couple of weeks ago, but now with such rich, vivid tones and undertones...
Mesmerising.
•••
1980. I am in San Francisco, I am young (about 23) and, I think I can say with some accuracy, cute. I mean, yeah, clueless, but... cute.
It is a San Francisco Halloween – perhaps my first, or second? – and I have met some guys who Actually Own a major Bar, which means they are extraordinarily cool. Older of course, but hot. Everyone is gradually getting ready for a Halloween party, so there is much delay and smoking of pot as people change their minds on costumes and times and places and drinks and whatnot...
I am sitting on a white leather sofa with men who come and go and discuss plans. One of the guys sits down and shows me something new that is very, very cool: a Walkman. Apparently Sony has created a leetle teeny cassette player, and you can play whatever you want, and walk around with it. You listen through the earphones – here, go ahead, try them.
I have never seen such a thing...
But what is absolutely, utterly amazing, for me as an ambitious if rather lazy musician, is that when you play a new album I've never heard of – Guilty, by Barbra Streisand and a blown-dried Bee Gee, with a trendy white-on-white cover – the shimmering partials are so beautiful, it is just...
My impression – and everybody's impression: none of us have ever heard anything like it, the fidelity is extraordinary, and the album full of high, sweet sounds – is that I've never, ever, heard music like this.
Yes, okay, the pot probably helped... but really: what sounds.
•••
It's been true for a few years: I don't seem to care about music quite as much. I teach, I write, but often I can just... well, take it or leave it. (Would my colleagues, my students, be scandalised by my apostasy? Let's not tell them then.)
But this... it is past midnight, I should be in bed, but I'm still just... listening:
Miles Davis, Nefertiti.
Nightnoise, Bring Me Back a Song.
I haven't heard some of these things in ages, they take me back to... well, the 80s.
Tippett, String quartet no. 2.
Kate Bush, A Coral Room.
Slightly drunk with some of the music by now, I think.
Marco Beasley, Tu bella ca lu tieni lu pettu tundu.
Dieter Schnebel, Schubert-Phantaisie.
The sounds just glow.
Sun Kil Moon, Trucker's Atlas.
Gamelan of Cirebon....
•••
And now it is past one, I really have to go to bed...
Earphones.
Who'd've thought it.
•••
I'll go to bed in a bit.................
November 23, 2016 in Memory, Music | Permalink | Comments (0)
A few days after the Brexit vote, I am talking to N. over the phone: an intelligent, skilled businesswoman – in fact someone much more skilled at managing the world and its demands, laws and finances than I am (which isn't setting the bar very high, I admit). She is, however, upset, also as I am – concerned about the house she owns, the flat she rents for herself, the economic future for her consultant business, and most of all for her son, who has recently graduated from university and gone to work in London, and his future...
And she and her son are people who really, really have it together. As well as people who have a very good idea how international relations, law and finance all work and are interlinked, as they've both lived in Germany for substantial amounts of time and made complex decisions about citizenship, property, rights, etc.
Though she remains, as always, focused and articulate, in the course of going through various scenarios and plans it is clear that she is also extremely upset – that now familiar sense of the world upending itself, of collapse and disintegration...
•••
On the train back from Sheffield, a woman with glasses and kind, intelligent face is talking to a man on the other side of the table we share. They are talking about choruses, and musicals – the woman is singing with a local chorus for the first time in her life, and enjoying it immensely; the man teaches a lot of students musical theatre, apparently at the school level. I can't resist intruding, talking about the shows and experiences they're discussing, my own experiences, and my students; the woman enjoys our talk, the man might feel a bit more encroached upon.
At Durham he gets out, pleasantly saying good-bye to both of us; she and I talk, then more animatedly around the Brexit vote. She is a judge, going to Edinburgh to preside over a particular case, one about a child in a conflicted family situation; her face is open and warm, but you can also see the dignity, clarity and ethical assertiveness needed for a judge. She is also anxious and angry over the Brexit vote – we talk about consequences, structures, and implicit politics: I admit that some people I know felt as though they were voting against an overly controlling government, but that I would much rather be managed by a number of conflicting organisations arguing their way to some compromise than I would want to be under the heavily oligarchical structure of modern Britain (or perhaps I should say, of modern London; or, as one of my colleagues from London corrected me, of The City – that is, that part of central London dominated by finance and government).
She clearly has a more precise grasp of law and rights than I ever would, so the fact that she looks so concerned, nearly despairing for a large class of people, is arresting...
•••
K. cleans my apartment every month or so, irregularly; she and her husband and two daughters are Bulgarian, and when she is here we always talk about how they are all doing, how school and now university are working out for them. K. is animated and fun, and tends to take care of me, bringing homemade food and asking what I think about various current matters, so of course we talk about Brexit – I do get a bit direct, but we've known each other for years, so I can ask: do her daughters have noticeable accents, are they paying attention to whether they bump into the wrong people in Newcastle, in Sheffield? Because there has been a sharp increase in incidents, with some violence, aimed at immigrants across the entire country in the past weeks.
(As for K. and her husband, they both have fairly heavy accents – I assume they know to be careful in some parts of town...)
We talk about my passports, plans, health care, futures....
K. says it's not a problem, but none of them have British citizenship, so they don't know what will happen to all their plans, to their lives. What is the future for her business, for the family needs that she supports so heroically? (Because I'll tell you, I couldn't do the work she does to keep a family afloat, and they live in a pleasant house.) I get a bit anxiously heavy-handed here, stressing that they should pay attention in bad neighbourhoods...
•••
In the meantime, I have managed to offend my family by firing off an enraged email in response to their Brexit jokes – it really wasn't funny to me (this was a day or so after the vote). M., another American, can see my point of view, as can my analyst – but that's not quite what concerns me: it's not whether I or anyone else are right or not; it is... that general atmosphere of splitting, of disagreement, of confusion...
of panic, of rage, of lowering skies, of fragmenting rights and futures, of disintegrating stabilities.
Nicholas Mosley, Hopeful Monsters: an extraordinarily vast, complex novel, where he (the most ethical descendent of Oswald Mosley, the leader of the British Blackshirts, and so someone who has spent his life trying to figure out how to atone for his father's grotesque actions) outlines the desperate confusion of the 1930s: not knowing where right is, where safety is – some of the violence and chaos of the past weeks suggests what is, at least now, a smaller version of the early 1930s...
Well, for now, anyway.
•••
A week later, I meet with N. again – we sit in a restaurant and talk. We are both calmer, but with plans and ideas: multiple futures, financial and legal... waiting, and watching....
In mid-September I was in London – all too briefly; and I apologise that it took so long to write about it...
I can remember some of my response in words, at least, even if the visceral immediacy of it has faded.
The short form: I went down to London, merely overnight, on a day when it was pleasantly, and unexpectedly, hot in the south (not so here in the north, I ended up lugging my leather jacket across London and back).
Rolf Hind organised a couple of concerts that focused on gay and lesbian composers, and wanted three of us to introduce them – a half-hour panel with Philip Venables, whom I hadn't previously known, and Freya Jarman, an old friend. It was great fun talking through the whole, grand history, for me since the mid-1980s, of talking about gay and lesbian studies in music, what they might mean, what they might not mean... and the intense reactions of people who can't stand them.
The weather changed the tone of everything – by London standards, it was hot and sweaty, but in a pleasant, freeing sort of way: some men on the street tended to look fairly muscular and energetic. Including one of the pianists, the muscular and energetic American Adam Tendler... the whole trip had an unexpectedly erotic tone to it: man-watching is not often a great pleasure in London (at least not compared to Barcelona, San Francisco, etc., etc.), but the guys were at their best: busy in a citified way, carrying things and waiting for buses, all the while in shirts cut off at the shoulder, with the current trends towards muscular gym fitness and beards...
But this is, at least mostly, about the music.
Much of the concert was – how can I adequately speak of this? – truly dazzling. Early modern to high modern to postmodern, a number of works that were intensely demanding, that stretched time and one's sense of the possible – you know that there are twentieth-century works that really seem to wake you to different levels of consciousness (like minimalism at its best, or more atonal works that set up elaborate, complex patterns, then expand the ground they seem to be occupying, all the way out to... ah sometimes it's just too hard to explain).
Transcendental musics: not quite like the emotional passions of major nineteenth-century works, but experiences that alter one's sense of time and space and awareness...
I'm not explaining this well.
Erotic, powerful music: is it possible that the fading of my long engagement with the avant-garde, so fascinating for me for most of my life but less so in the past few years, is simply because I'm depending too much on recordings? Because, as I've learned often enough, the ability of a performer to play highly complex musics doesn't guarantee that they can make the works 'fly', so to speak. A favourite example: Roger Woodward's demented, universe-shattering performance of Barraqué's Sonate seems to be disappointingly unique: knowing that I like the sonata so much, at different times I bought CDs by two other performers. In both cases, brilliant, hand-stretching virtuosity, but... no life. No shock, no crack across the sky, no sense of time as both unbearable and electric with passion...
Am I making any sense at all here? In any case, the sad truth – that too many performances of difficult modernist musics don't manage to carry the works across mere virtuosity, mere complexity, to bring the works into vivid life. Which can make the difficult process of performing them a bit useless...
But I'm talking about a performance where that didn't happen: where the dark electricity of Claude Vivier's Shiraz, of Julius Eastman's vast, strange Gay Guerrilla, were experiences of another, and more astounding, world: the kind of music that wakes you up to time and all its inarticulable transformations...
Rolf was amazing, as was Siwan Rhys. Others such as Zubin Kanga and Eliza McCarthy, also quite wonderful. One of the more unexpected events of Tendler's performance was a suite of Henry Cowell pieces – and another shock: he made them work, made them sound like real and important music. My experience of Cowell's piano pieces always previously suggested those pieces by George Crumb where the percussionists sing and recite poetry – sure, it's never been done before, and gosh good for them, but... ultimately a bit tacky/embarrassing. Those pieces often feel like not quite being willing to focus on a tacky stage performance, like mere bad acting.
But this performance was nothing like that... Cowell seemed like, well, a major composer, doing brilliant work: not just somebody scrubbing their hands across the strings. And I've never even imagined his work could be that way
Well, perhaps you see what I'm aiming at...
•••
A minor addendum: last night I read Alessandro Baricco's Mr Gwyn. The first book of his that was translated into English was Silk – which was beautifully subtle, but a bit like a parable (think The Pearl or Being There). Mr Gwyn is larger, more substantial, and – well, again, hard to explain: a writer stops writing, going into a kind of performance art, in an attempt to do something that seems really authentic, really remarkable. And incredibly subtle, incredibly meaningful at each tiny step of the long journey. It's a beautiful book, really impressive: and one of those that moves art out of the world of publicity and sales, of repetition and vanity, into something – ah well can't really explain. But: go read it.
•••
And another, my subtitle 'appealing to the passions' – have you ever read Max Beerbohm's essay, 'A Clergyman'? Perhaps the funniest, most bizarre, most unexpected things he ever wrote... go find it....
November 15, 2015 in Cities, Music, Travel | Permalink | Comments (0)
Continuing to go through everything in my office... preparatory to moving.
Which will be delayed a few days (hallelujah) and will be to a relatively large office at the quiet far end of a corridor... hmm my luck seems to be improving.
(Don't get too excited, I'm only there for two years, then they move us back to probably distinctly smaller offices... though if they're like the ones on the second floor they're also very pretty. If all too open – the modern boss's fear of not being able to observe the wage slave.)
***
The books and scores – handled. About 15% removed, to the university library, students, or trash.
But papers, now...
Papers are of course either more pointless (a 2004 board of studies? dump) or – and this is the nub here – considerably more intimate.
My old compositions, and arrangements. Yes, my late 1980s decision was appropriate: they are small, often flimsy – and it is now obvious that I kept trying to move from writing small, brief pieces directly to multi-movement monuments: a shame I couldn't figure out that I needed to work through a range of mid-sized works...
Or perhaps, more simply, it wasn't within my range of abilities.
***
A rather strange but obvious interpretation: in the four years in Hong Kong, I was ambitious, energetic – I didn't finish everything but I did a great deal. It surprises me how many projects I created, or worked with, that came through, that were successes, public events.
The collapse of Sydney, the year when John took kindly care of me and my disintegrating expectations, when I kept doing professional things but in a more fragmented way... and then I landed here: and the truth is, I fell into a certain amount of background depression for some years. Though Newcastle is an intelligent, energetic department, funding and major urban musicians have never come through as much – big cities still suck up culture (and regard themselves as generating it).
Or, in any case, I, at least, was no longer able to connect to interesting projects...
(I do always remember that RMA conference in London, a couple of years before I left Hong Kong: I was, not to put too fine a point on it, the Flavor of the Month – surrounded with postgrads who wanted to know what I thought of many things. A few years later, in Newcastle, they didn't seem to remember my existence...)
•••
So many other papers, so many other concerts, poems, events, reviews, students...
and yes tedious meetings (all of that can be instantly dumped; but the swell and ebb of meetings in the British academic system is also marked in these piles of papers).
Fragments of the personal – people I barely remember (and sometimes people I don't remember at all, sorry about that). Others I remember with great affection, sometimes loss. Cards, letters...
Folders, well-made or dusty. Flashes of creativity and fun, or of collapse and diffusion.
***
And it's true, many projects and people were tied to my sense of self: no surprise of course.
But these spikes and thorns barely catch on my skin: it's true, I am less (or, somewhat less?) anxiously attached to my own success. But the memories of these processes and feelings in my life...
(We already know the worst of the seven deadly sins for me was always pride. Or, in times of failure, envy – but for me they're two sides of the same thing.)
***
Is all this stuff why this week's analysis session was – well, unexpected?
I had walked in, already a bit pre-bored with myself, feeling diffuse and as though I didn't know where this was all going – dream fragments not very interesting, dull and vague irritations over move not at all interesting – when suddenly a different, bigger picture began to appear:
I could see the shape of the space wherein these things are happening – and suddenly any dullness seemed a predictable part of a process....
Yes, even that counts as a vision.
August 30, 2015 in Academia, Memory, Music, Psychology | Permalink | Comments (0)
So: I am finally going through all the books, and then the papers, in my office.
My office is being moved soon – rather sooner than I'd expected: repeated insistence on a clear date on my part gave rise to a flurry of emails assuring me that it wouldn't happen until mid-September; but now of course some administrator somewhere has changed his mind.
Or perhaps not: another administrator, always obliquely unsympathetic to our department, may simply be rushing me. (She retires next year... as she, for some reason, pointed out to me in our discussion. We may be feeling similarly about this.)
But, given that I have a huge mess of books and papers – approximately 9 of those tall Billy bookcases? –
and, even more importantly, given that my professional tastes and goals have changed in the past fifteen years...
it is a good idea to cut back (not as much as the administrator hopes – perhaps 10-15% will go) and look through things.
***
This is, however, not merely a practical experience, but an existentially complex one.
In the 80s and early 90s, I was fascinated with many aspects of music and musicology, gender and theory and modernism, history and ideas and people and... oh, tons and tons of things.
This all solidified a bit across the upheavals of the 90s: it became a bit clearer what I was good at, what I'd never be good at, and most of all what I cared about. The general move from a fascination with complex systems to more existential concerns, partly as a result of AIDS, emotion, bodily experience, and an anxious realization that many complex systems have little to offer beyond their own complexity, made me feel as though I was leaving Castalia... and that I was right to do so.
Then the crash landing in Newcastle, after expulsion from Australia, left me with chaotic feelings of retreat and anomie – nothing that I had formerly found interesting seemed alive any more. Yes, of course, I should have been grateful for this job, but it was hard to experience that... and so many projects dissipated into thin air.
But lately even the Stäbler book has been finished!...
***
So, as I go through these books, many of them recall people, conferences, conversations, events... concerts, ideals, hopes...
I'm thankful for the shifts of the past two years: this would have been emotionally painful before those transformations.
Still, books raise many flashes of wistfulness, disappointment – gladness; missing certain people, recalling them happily or with annoyance. There are people who have simply vanished from the face of the planet, as far as I can tell – a difficult thing in an internet world, that makes one wonder.
And, strangely enough, some old ideas and projects are starting to seem interesting again...
***
So, exactly which books shall I get rid of?
Many, many books on modernism. Some repeat what others say, but more cheesily, with terrible illustrations. Some are by composers – if I don't care much about the composer any more, and it's an incoherent personal tour of various thoughts, it's out. Many overviews of modernism, avant-garde, technique: some are better than others – the wonky ones are jettisoned.
Loony, wide-ranging babbling by composers, even good ones, is of limited appeal. Only the ones who can actually make a point and stay focused are worth keeping.
Look at all those Stravinsky books! Are they all really useful?... but ultimately I only got rid of one of them.
Darmstadt: a wide range of composers and ideas interest me. But hey, not all of them – this collection on Goeyvaerts will never be opened again. Slush pile for library.
***
I've always been impressed – probably too impressed – by General Theories of Everything. Antiquated ones can go (Toch, Zuckerkandl, etc.); ethnomusicological tours of all time periods and places, which are inevitably vague and cloudy; and a range of I-Know-A-Lot-About-Music-And-I Know-What-I-Like overviews of why the great is so great. Or why the great is good, in any case, or other nonsense like that. Too many silly people who were too impressed by bad translations of Hanslick.
It's slightly strange how many works on feminism and gender studies are on the shelves: did I really buy everything that was for sale at all those conferences in the 90s? Yes, of course, I'm known as part of the generation that championed gender studies, but... so many of them say exactly the same things. There are merely better and worse writers...
Anything on gay composers stays, but a lot of the purely feminist can go the library, especially if I don't care about any of the musicians being written about. That's easy.
***
How about really, really complicated theory, that I honestly don't understand any more?
The answer is obvious – anything that works on Kh sets can go; Perle's first book makes sense to me, his second might as well be in Early Assyrian. Too much trouble for one lifetime, it goes to the library.
And what about weird theory – such as the peculiar photocopied pages on Schat's tone clock that were sent out by a New Zealand composer, bound in with an impassioned, handwritten letter pleading that all musicians must take this theory seriously, or otherwise we would drift down the sinful paths of atonality?... (I see from her Wikipedia entry that she resigned from university teaching to join the Divine Light Mission. Well, modernism is next to craziness, we all know that.)
Am I keeping Wuorinen's Simple Composition just so that I can make fun of the title?... He is always rather cranky, as it happens. (Sure he's gay but who cares – and he was crazily abusive of Monk, whom I like.) Dump it (him).
And how about books by other individuals I have come to thoroughly dislike over the decades?... unless they're absolutely necessary, dump 'em. (And no I'm not naming names here. Besides, you almost certainly can imagine the top five, or bottom five perhaps, of the nastiest musicologists in the Anglophone world... since the 90s there has been a great resurgence of unpleasantness in our profession. Some people think that is because these people are more right than others... they will have a bad time in a Buddhist hell, I think.)
***
Who ever thought Penetrating Wagner's Ring was a good title for a collection of articles?... I've got keep that one I guess. If only because no one will otherwise believe that the book exists.
***
I cannot believe how much I have spent on books I don't much like... oh well.
Did you ever fantasize about getting back all the money you've wasted in your life? Falling for embarrassing sales pitches: that car... yes I know, I've read my Adorno, we live in Late Capitalism.
***
Much is done. Much left to do.
Yet this doesn't create depression or anxiety: a surprising number of ideas actually look interesting – as though I could get back into them.
We'll see how the move itself goes – but the conceptual world of this move isn't such a bad one...
And it's nice to clear things out.
Finally.
August 14, 2015 in Academia, Books, High Modern/Postmodern, Memory, Music, On writing | Permalink | Comments (0)