Memorandum of Understanding

BY BILL NELSON

Understand that we will be working together / and this means / we do not have to
like each other. / Understand that we have common goals / and aspirations, we
have aspirations / most of all. / Understand, that in the end, / the unspoken is
always spoken / and usually by someone not qualified to speak it. Understand, /
the rhythm of this agreement is not always symmetric, / sometimes the drummer
starts to lean / on one thigh, slowly sags to the side, / and as a result the song
can sound like mud and honey. / Understand, that I love you. / Understand, that
this doesn’t necessarily concern you. / Understand, that this is a bridging
agreement, / just a place-holder / until the full programme of individual projects
that need to occur to realise the full potential of the programme which addresses
all the individual and specific concerns and develops a full and proper
understanding of all the aforementioned concerns / is in place. Understand, / that
there are no place-holders. Understand, / that between two place-holders is a
river of uncertain places. / Understand, that the most interesting thing about the
river / are the bridges that cross it. That bridges / always cross something. That
bridges always burn. / That bridges can, and often are, / rebuilt. Understand, the
gravity / of all this / and how I’m waving my arms about / to indicate the All of
This. Understand, / the specific weight of at least / some of it. Understand, / the
specific body is important. / Understand, that no one can really understand
gravity, / it exists only on a piece of paper, / as in, like, an equation, / as in the
things between the things / we can understand. Like a bridge. Or the complex
science / that goes into a bridge. / Understand this. / This is a bridge, quite a long
one. / Understand, that we should be wary of long bridges. / If we find ourselves
seduced / by long bridges, we should strip off, / stand in front of the mirror, /
squeeze all the wobbly bits. / I understand / that’s what you do when I’m not
around. / From now on, let’s do that together, / let’s squeeze our secrets, / but
only with one another. Let’s understand the wobbly bits and squeeze them. /
Let’s be wobbly, let’s be squeezy. / Let’s remember what it felt like to be
memorable. / Let’s stand under this understanding and marvel / at her structure,
the curve of her thought-bearing hips / as she takes our concerns, / one by one,
without complaint.

[NOTE: Bill Nelson read this poem at the Wellington LitCrawl on Saturday. He read it in a strangely expressive monotone – I wish I had a recording of it – and it was my big highlight of the LitCrawl. I was sitting behind Bill and when he returned to his seat I prodded him appreciatively in the shoulder but I don’t think he noticed, so this is my chance to make my appreciation more boldly known. Obviously Bill is a writer of poems (here are three great ones: ‘Giant Steps’ and ‘The Evidence’ and ‘All the love poems’) but he also writes for the brilliant NZ outdoors journal Up Country (which he edits with fellow writers John Summers and Thom Gower). He is also a player of squash, football, hockey and possibly tennis. He is on twitter. Bill’s poems always hit a real nerve with me. They have a tone and a temperature unlike anyone else, and his stuff tends to stick in my head. Like the line: ‘She had legs like a Saturday night movie’. And they’re often dazzlingly uncomfortable. Once, at Te Papa Marae, Bill read a poem that featured masturbation and I have never forgotten it.]

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Metamorphosis

or, Ode to Jerry

IMG_4609

 

Small boy dressed as barn owl.

Barn owl with mouth of shark.

Cover of Whitley Strieber’s Communion

but smiling.

Boiled can of condensed milk.

Neighbour at RSA on Sunday afternoon.

Slow prattle of Singer, in sewing room.

Duvet inner draped over fence.

Constant minor expense.

Jittery tail of rattlesnake.

Ice cream cake.

Convivial beanbag. Wayward white bean

escaped from the bag.

Final pavlova my mother made.

Lemon meringue dropped on carpet.

Softness of morning armpit.

In the leaves, a snowman’s stomach.

Boot on doorstep, covered in snow.

Biscuit fallen into tea.

Warm flank of cow. Helpless manatee.

Sea cucumber rolling in the sand.

Sea foam skittering in the wind.

Iceberg, knowing it will become sea.

Open arms metamorphosing into Jerry.

 

 

[NOTE: Last night was the Wellington LitCrawl, and I was part of a short event called Little Beasties, along with Damien Wilkins, Kerry Donovan-Brown, Helen Heath, James Brown, Therese Lloyd, and Chris Price. The idea was that we each had to read something on the theme of the animal kingdom. I had a few animal-ish poems kicking about, but not, like, a core one. I needed a core animal poem. So yesterday afternoon before the reading I hastily wrote this poem (is it really a poem? Maybe it is more of a simple list) about my cat, Jerry, in which I try and fail to find the perfect descriptor for him. I had resolved that the ridiculous Jerry poem would exist solely at the reading, after which it would self-destruct, but when I revisited it this morning in the sober light of day, I felt oddly OK with its bottom-of-the-barrel cheesiness, so here it is.]

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Window seat

At 8:20 on Thursday morning I found my seat, the middle of the row near the back of the plane, sat down, and switched on my Kindle. I was reading The Examined Life, Stephen Grosz’s account of his experiences as a psychoanalyst, and I had reached the last section, ‘Leaving’, in which Grosz has taken on a new patient, a young man, who has just been diagnosed with HIV. The young man is beginning to spend all of his psychoanalysis sessions in deep, still, heavy silence, sometimes even falling asleep. I was at the part where Grosz is describing the different kinds of silences that patients sometimes bring to him – silences of refusal, or discomfort, of repression – when a tiny withered woman with a huge puffy black bag over her shoulder indicated she had the window seat beside me. I got up and helped her manoeuvre her bag into the overhead compartment, then she sat down and set about making herself comfortable; she took off her shoes, revealing papery brown feet, and arranged a blanket beneath her seat so that her feet had a resting place – her legs, in leopard-print leggings, were too short to reach the floor. She took out her own Kindle, which was in a proper zippered case, and I went back to Grosz and the young man in the therapy room. ‘Under ordinary circumstances,’ Grosz was saying, ‘I might ask a patient who has been silent for some time what they’re thinking or feeling, and once or twice I did this with Anthony. But I soon realised that my speaking was an intrusion, a disturbance.’ I stopped reading then because I couldn’t focus. I was getting a sense of slight but building pressure between the window-seat woman and myself – a sense that she was about to say something; that she wasn’t really going to read; she was just fiddling with the device while she decided where she would start with me. Sure enough:

‘If you see me popping pills or dragging on an inhaler, don’t you worry.’ She had a bright Queensland accent, with an unexpected burr, almost Scottish-sounding. ‘Bronchiectasis. Much worse than asthma. Had it for years and years, so I’ve got all these scars on my lungs. Big knotty scars. Bronchiectasis. Last time I left New Zealand I took this sickness with me, now I’m going to give the bloody thing back!’ She motioned at her tiny chest. ‘I’ve had about a hundred pneumonias and a fair few operations. It was all the mould in New Zealand. That’s why I moved away to Australia. But I’m tough. Don’t worry if you see me puffing away.’

She looked at me sideways. She had blue eyes in a small tanned face, and one of those open-mouthed smiles that made it look as though she was silently saying ‘Aaah!’ She pulled a plastic lunch container out of the front seat pocket, cracked open the lid and took out an egg sandwich, which she ate while swinging her feet and looking out the window. We were right above the wing. Outside on the tarmac an electric cart was shuttling about, a hi-vis figure at the wheel. ‘Sometimes when you’re between New Zealand and Australia,’ she said between mouthfuls, ‘if you look down you can see a rainbow circle in the sea. A glassy sort of rainbow, like a big bowl. I always get the window seat so I can see it, because it’s beautiful. But we won’t be able to see it with that darn wing there.’ I said it was a shame about the wing, and she said, ‘No, not a shame, it’s just the way it’s happened.’

She was quiet for a while, and in the meantime an elderly woman sat down in the aisle seat, to my left. She had white-blue hair and was dressed in shimmery black clothing, with bronzer on her cheekbones and scarlet lipstick. She had the look of a dulled but beautiful gemstone, which seemed obvious even as I thought it, but I couldn’t discard the impression. An opal, probably. (As I was thinking about what sort of gemstone she’d be I remembered how in Brisbane I’d thought aloud that the crows had eyes that looked like sequins. My friend James had said, ‘Maybe the eyes have evolved to look like sequins, because crows know that humans like the look of sequins.’) I helped the opal woman to adjust the direction of the tiny fan above us so that it was blowing directly into her hair, then we sat down. I was probably a frustrating barrier between the two women, making it less likely that they would talk to each other, when they might have more to say to each other – but then a middle-aged woman came down the aisle and handed the opal woman a packet of jellybeans. ‘You’ll need these for energy, Mum.’ Her mother tucked the jellybeans away and reclined her seat and put her sleeping mask on.

‘Last time I flew, I got terrible altitude sickness,’ window-seat woman whispered. ‘It was years ago. I remember lying on the floor under the seats thinking I might be dying. Suddenly the word “God” came to me. “God, God, God, God.” I felt like the word was beaming into me right down the centre, like a torch beam, filling me with the word “God”, and I thought, well, if this is dying, it’s all right.’ That must have been incredibly stressful, I said, and she jutted her chin upwards, squinting. ‘It’s how it happened, and it got me to where I needed to be.’ She looked out at the wing. ‘This is the first time I’ve flown in many, many years.’ The Scottish burr again. ‘I haven’t been able to, with my sickness. But if I make it this time, it’s a sign I’ll be able to make it to Switzerland, where my son lives. This is my test flight, you see.’ She gave the Aaaah smile again. ‘I’m meeting my sister in Wellington. First time I’ve seen her in five years. We were born in Invercargill. I had to leave because of the mould.’ Then she told me about the first time she’d been up in a plane, when she was sixteen. Her friend’s father was a pilot, and he had a small plane. They all went up together in the small plane and did acrobatics for half an hour. ‘Straight after the flight, my friend and I went off to a dance. All dressed up in our miniskirts. I was feeling so sick. My very first dance, I vomited all over my partner! He was very annoyed with me.’

We were still on the tarmac, and I was already feeling tired, because I’d had to react with surprise and delight at these stories. My energy for talking to strangers gets quickly depleted. Maybe sitting next to window-seat woman would be too much. But she was quiet now, and soon we were in the air, and Brisbane, with its pale sky and all its evenly tanned people in sunglasses and sleeveless tops, was dropping away. Window-seat woman nudged me and said, ‘Look.’ She had something in her hand. It was a white rock with corrugated, granular swirls in it, the swirls like the movements of a worm or a centipede. It looked like it could be a fossil, but I couldn’t tell of what. ‘I couldn’t resist picking this up on the beach early this morning. Nature! I don’t suppose they’ll let me through with it.’ I started to laugh. I said I didn’t think they would let her through with the rock. ‘Well, it’s here now,’ she said, and put it back in her bag with satisfaction.

I had been up since quarter to 5 because I’d had to walk to the train station, with James, who was flying back to Darwin. I closed my eyes and fell into a blank doze. When I opened them again I felt heavy and sad. I always feel a bit sad on flights between countries. I can’t help thinking about the past and the future and where I will end up. The geographical limbo seems to emphasise a limbo I feel in myself. I was staring into space, thinking about all this, when the woman said, ‘My brother’s a cross dresser,’ and I was jolted back into our little row. ‘Been doing it for ten years, and has never been happier,’ she said. ‘He’d always felt pulled in all directions as a young man – he just wasn’t ever himself. What grief. Imagine it. And when he was fifty, he met this wonderful woman who told him to just let go. Just let it out. And he started dressing like a woman, these lovely skirts, colourful shoes, and he and this woman who’d told him to do it, they ended up married. It was a real eye opener for our whole family. We all loved him but now we had to learn how to love him as a lady, too.’ I got the sense she’d told the story numerous times but that she liked to tell it because it confirmed something she’d long believed. ‘It’s an amazing way to have your whole world opened up, you know – to have your brother or son or father say, I’m Harris, but I’m also Paris.’ She prised another sandwich from her plastic container and began to eat. We were flying over the clouds now.

The opal woman took off her mask, shakily stood, and made her way towards the toilets, clasping one seat at a time in a kind of rowing motion. I stood up too, and the window-seat woman followed. Ordinarily I would’ve felt irritated, but I didn’t with this woman. She didn’t seem needy or searching with her stories, the way some fellow passengers are. She didn’t seem to expect anything from me. We queued together at the end of the aisle, while the people in the toilets took what seemed like a very long time. Window-seat woman looked at me incredulously. ‘Funny how some people take so long. Just like life, isn’t it?’ Then she looked fixedly at me and said:

‘About forty years ago my brother – not the crossdresser one, the other one – was flying over Saudi Arabia, and the plane got hijacked. It was in the days when it was easy to hijack a plane. The hijackers made the pilots land in a desert.’ The thought crossed my mind that window-seat woman must be lying, at least exaggerating. ‘They had to stay there for two days until they were rescued. My brother was fine in the end, and no one was killed. But he came back to us very much older.’ She gave a strange sad laugh. ‘And later on he ended up dying of AIDS. What a mystery.’ A toilet door finally opened and she went in while I stayed waiting in the aisle. I thought about the book I had been reading and the young man lying silently on the couch in the psychoanalyst’s office. It had taken Grosz a long time to understand that all Anthony needed was not to feel alone. He didn’t need to talk, but he wanted to fall asleep without fear, knowing that when he was gone, he stayed present and alive in the mind of another.

Back in our seats, it wasn’t long before window-seat woman spoke again, and for the next twenty minutes she told me that she’d once been a biker in the Hell’s Angels – had probably been one of New Zealand’s first female bikers – but had got in trouble with the police so had to give it up; that she’d been thrown out of numerous nightclubs as a youngster because her skirt was too short; that once she went to an auction at Lyall Bay and her young daughter had tripped over in front of her, and when she reached out to pick her up she made a particular motion that made the auctioneer think she was bidding, and she ended up buying a big oak table. She told me that it was in Lower Hutt when her real life began, because it was here that she realised she was a healer. A friend had arrived after a long flight and he had hurt his elbow lifting a heavy suitcase, so she put her hands on his elbow to comfort him. ‘I felt this strange, powerful tingling in my hands and arms, and I thought I must be getting pins and needles. After a few moments I had this strong feeling that my friend’s elbow was better now. I took my hands away, and he said, “Gosh, my elbow feels much better.” I said to myself, “I’m a healer, I’m a healer!”’ She said that many years later, she ended up with her own healing practice in Zurich. Her husband earned all the money, so she didn’t charge for her healing services.

It was possible that she was recklessly inventing. Who easier to tell an imagined life to than a stranger on a plane who you’ll likely never see again? The geography and timescale of her life was erratic – she had mentioned Invercargill, suburbs around Wellington, Paekakariki, all over Europe, all over Australia – and it was hard to figure out who she was without being able to connect her firmly to one particular place. The past seemed so vivid to her that it was also hard for me to grasp that some of the stories she was telling took place more than forty years ago. I made my mind up to not decide there and then whether she was telling the truth. I wanted to stay open for as long as I could. I was wide awake when she said, with resolve: ‘Now, I’m going to tell you about you.’ She had not expressed any particular interest in me until this point, beyond asking me how old I was and what I did for a living.

Opal woman was having a close, whispered conversation with her daughter, who had come down the aisle again holding a miniature hairbrush.

‘You love your cat,’ window-seat woman said, ‘you love your cat very much, and you love all animals,’ and then I realised that she must think she had psychic abilities, along with healing abilities. There was nothing to do but play along; I was trapped here. I told her she was right about the cat and the animals. ‘You’re very gentle,’ she went on. ‘At your core you are very gentle, though you can be spiky on the outside.’ How does one disagree? Isn’t that the basic human condition? ‘Where do you live… I’m seeing you living on the top of a hill. Steep hill. And you’re zipping about on the roads, very quick, very zippy. An explorer.’ She motioned with her hands. ‘You’re very like your mother but you think she talks too much. Your father is a bit hazy to me.’ She frowned for a while. ‘You have more of a connection with one of your brothers than the other one, perhaps.’ Then she shook her head. ‘I could go on and on, but it wouldn’t do either of us any good.’ She laughed and said: ‘I will just say, I don’t see any black marks ahead. Isn’t that great!’ She peered at me. ‘I also will just say, you need to clean your glasses.’

We spent some time in quiet. I tried to read my book again. Anthony had not died – in fact, after being told he might have two years left and that essentially he had no future, he had lived for a very long time. ‘I now think that Anthony’s silences expressed different things at different times,’ Grosz was saying. ‘Sorrow, a desire to be close to me but stay separate, and a wish to stop time.’ Anthony was still alive at the chapter’s close, and then I began a new chapter, about a woman named Alice P., who was trying to grieve for a baby she had lost but wasn’t able to.

We were ten minutes from landing when window-seat woman turned to me and said, ‘I wanted to save this till the very end. I see some big changes ahead for you. Your life is going to go like that.’ She made a zigzaggy motion with her hand. ‘Yes, you’ve spent so much time putting others first, and it’s your turn now.’ She looked at me with such kindness that I put aside, for a moment, the knowledge that this is what psychics routinely tell their charges, because this is what people want to hear. Everyone wants to feel chosen. Being told ‘it’s your turn now’ feels like being praised, or needed, or pursued. But then she said, drily: ‘I don’t suppose you’ve met the love of your life.’ I was flustered and felt a surge of annoyance. It was her knowingness, and her flippancy. I told her, ‘I’m not sure I believe in that expression “love of your life”. But I feel that maybe I have, actually, back home.’ She said, ‘Well, let’s see. You’re at the perfect age. Women come right at your age. Men never really come right.’ I got really annoyed then – maybe she would go on to ask someone else if they had found the love of their life, and that person would grow doubtful about all of their decisions and throw everything away – and turned on my Kindle and read that Grosz’s sister had been to speak to a clairvoyant when she had lost her home and all her possessions in a brush fire in California, in 2008. Grosz’s sister says that through the clairvoyant she spoke to her and Grosz’s mother, who has been dead for more than twenty years, and Grosz is surprised to find himself tearful. ‘What did Mom say?’

We were descending quickly into Wellington now and I could see the hills and houses taking on their familiar edges. The pilot had just announced that the local temperature was 12 degrees, with a strong Southerly, and a shriek had gone up from all the Queenslanders on board. I finished my book, and found myself crying. Window-seat woman murmured, ‘Jerry must be missing you.’ Jerry is the name of my cat. She said, ‘Is that his name? Jerry? He’ll be glad to see you.’ I managed to say, ‘Yes, yes it is,’ even as I was shaking my head. At some point I must have said Jerry’s name, I must have, but as I combed carefully back through our conversation, I was sure I hadn’t.

After we landed and were waiting for the seatbelt sign to turn off, she said to me, ‘Do they still call Wellington the City of Angels? They always said that the angels help planes to get down safely to the ground.’ I said no, I was sure they had never called it that. Then I helped her to pull her bag from the overhead compartment and a few minutes later she was swallowed by the steadily moving line of passengers behind me.

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Become road

When the car stops we are beginning already to become road.
A little taken apart and buried, the way leaves
pamphlets, bottles, birds, hedgehogs, cats
become road. Become road beneath
the burying of cars. All become driven over
all become under. Even weather is taken
a little apart and buried. That we have been hit tonight
is relief; we’ll no longer need to wonder when. Pain becomes
a story we will tell you years from now.
Sound becomes the dream you’ll nurse us from.
For now we are a passenger belted in to the happening
looking back at our tame furred moon.
On our way home the night had been too pleasant.
Rows and rows of blue glass jars
like the BFG’s jars of dreams. The night was too pleasant
for what we had done. As we cycled uphill the person we once were
was cycling downhill. Each exhalation pushed us further apart.
Before we got hit we saw the shadows of trees become road. Then the trees.
A woman walking a dachshund through the trees became road. We saw the dog’s
eyes glinting in the road. The shine of his leash caught
in the road. We heard voices in the trees become road and the sound
of someone’s phone ringing in the trees become road. And now as traffic
clears, the road becomes tender and tucks us deep in its arms, which
although hard, accommodate everyone. Early morning, as the road
begins its upward surge
we hear footsteps nearing from somewhere inside
the road, as if we have been recognised.

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From this position, I will relax. From this position, I can see the whole place.

There ain’t no answer.
There ain’t never gonna be any answer.
There never was no answer.
There’s your answer.

Gertrude Stein

 

There are simple things that appear full of light and air and colour, and weightlessness. A voice speaking. A truth. A small decision. Why is the simple thing as heavy as it is? Why does the thing that should feel like playing a single note on a piano feel like pushing down an old door? It’s as if, in place of the right muscles, the right strength, there is dust.

I didn’t go to my final speaking class on the weekend. Every class member was going to give a big presentation, i.e. a speech, and be critiqued by the rest of the class. We’d already given 2-minute impromptu speeches (these included speeches about a special type of curry you can buy from Pak ‘N Save, tennis, and how expensive the components of motorcycles are. Predictably, I talked about my cat, Jerry). For the big presentation, I was going to talk about riding a bike in Wellington. I should’ve gone to that last session. But I was feeling burnt out and my heart sank when I thought about expressive gesturing and voice modulating. Embarrassment takes a lot of energy. I don’t think I absorbed much, in the end, from the first two sessions. Nothing went in, nothing bonded. It was like a body rejecting a skin graft or something. At the same time, I think I stood on the edge of absorption, and actual betterment, and it seemed very close. ‘It’s right there!’ Then you dive in and realise that actually the island of betterment is hundreds of miles away, and on the way you get stung repeatedly by jellyfish. (I should mention, I’ve been reading about incredible marathon swimmer Diana Nyad, who swam from Florida to Cuba and was stung repeatedly by jellyfish, including the 24-eyed, 3-foot-long-tentacled box jellyfish, whose poison can cause cardiovascular collapse and cerebral haemmorhage. Nyad is 65, and my hero.) If you are lucky, you make it.

The convener of the speech class told me was that I should open my mouth more when I talk, and also increase the volume of my voice. ‘Throw your voice like a ball.’ This is the one constant piece of advice for people trying to get better at speaking. ‘Throw’ your voice. And the voice is always a ball, never some other object (I guess because a ball suggests interaction, as opposed to, say, a firework). I would imagine one of those medicine balls they have at the gym, the heavy ones that some people throw at walls or slam into the floor, making the whole building shake. The convener explained that your head is like the body of an acoustic guitar: it’s the resonator. When air is blown upwards from the lungs, it excites the vocal folds of the larynx – that is, makes them vibrate – which then produces a tonal quality, resonating in your mouth. The more force with which you throw that air upwards from your lungs, the more the voice will resonate.

The convener said, ‘Open yourself out more when you sit.’ Don’t cross your legs or hunch over or hug yourself. All of these things compress the organs, the diaphragm in particular, restricting the breathing and contributing to a sluggish circulation, but more importantly these self-minimising postures send our brains a signal that we’re shutting down, withdrawing. To say something forthrightly, from this position, is perceived by our bodies as a great effort.

The convener singled me out to say, ‘Move around less awkwardly.’ So, let go of stiffness in your upper limbs in particular; let go of tension in your shoulders. Move as if you’re newly oiled, as if you’re a set of ball bearings in a perpetual motion machine, and your smallest movement flows from the previous movement and on to the next. So, sort of like saying, ‘Do all of your ordinary movements, but in reverse.’

When a person tells me to what to do to get better at something, and when their words seem to glow with good sense, I feel the old surge of hope. The possibilities blossom around us. ‘Goddamn! I am going to do this.’ This, I know, is the hope that fuels all endeavours of self-improvement, and the whole self-improvement industry. The hope is a kind of hyper-alertness to how you work and how you could work, instead. This sense of a new beginning has always been bound up with a lot of excitement for me. Built To Spill’s third album, Perfect From Now On, was one of my favourite albums as a teenager; I think partly because its title was what I said to myself all the time. Messing things up badly gave you permission to imagine yourself as a new person the next day.

Then come the days following the hope, when you’re striving. They’re like the days after a physio appointment, when you’re attempting to put into practise the correct ranges of motion that the physio has taught you so that you’ll sit, stand, walk and run properly. You have to place your toes and feet differently on the ground. ‘Make space’ in your hips. Not jut out your pelvis. Not swing the right side of your body more than the left. Etc. You walk out of the physio’s office and down the street taking small, weird, steps, hobbled by correctness. The way you move through the world must change if you’re going to stop getting injured. Despite the overwhelming nature of all the changes you need to make, it seems like a minor sacrifice to give up all those slightly erroneous ways in return for travelling more smoothly.

There was a lot of hopefulness in the speaking room.

There was a chaos of trying things out, setting yourself awhirl and seeing where you fell. It was almost like one big identity crisis. Trying to find a different hinge onto which your self might swing open.

I remember when I was maybe seventeen and studying first-year education, I read about James Marcia’s theories around the development of self-identity in adolescence, including the idea of ‘identity foreclosure’. In this identity status, a person ‘commits’ to an identity without much exploration. They haven’t questioned themselves much, or explored other ways of going about. At the time, I latched on to this idea of identity foreclosure. ‘I committed too early! I foreclosed!’ This was why, I thought, any kind of exploration or experiment or game felt so difficult, like trying to push down a very heavy door. In Marcia’s theory, it’s only later, towards the end of adolescence or even into the twenties, that the person has the big crisis: the ‘identity moratorium’, when the lid comes off the blender and all hell breaks loose.

But there was a lot of hopefulness in the speaking room. There were simple things that appeared full of light and air and colour, and weightlessness.

 

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Problematic

 

His voice wasn’t all squashed up in his mouth.

He was forming the words in his mouth quite well.

His pace wasn’t too fast and it wasn’t too slow,

he flowed pretty smoothly for most of it. There was a nice rhythm happening.

I guess you weren’t quite sure what was happening with his hands.

He knew he had to do something with them but whenever he moved them

they just ended up going back to where they were.

I got a bit of a sense of disconnection with his gestures.

He’s quite a tall guy, so you notice, actually.

Sometimes he would talk in little spurts and then stop

and you felt like maybe he’d forgotten where he was

in the scheme of things. I mean you knew he knew where he was

but if had just walked in off the street and didn’t know him

from Adam you probably wouldn’t know. So I would be worried about him

and I might think his ideas were all over the place.

At the start he sounded quite happy and excited. He was smiling

and the volume was good

and quite resonant, and it made you feel quite happy with him.

At the end everything went lower in pitch and a bit softer

as the content got more serious and more sad, I guess you could say.

So his pitch was appropriate to what was happening.

The only thing was, his eye contact wasn’t as good

as it maybe could’ve been. He wasn’t meeting anyone’s eye,

in a way he was looking all around the room except for at anyone.

And wasn’t eye contact his goal all along? I just think

he should reevaluate that goal. Sometimes he laughed

when it wasn’t that appropriate. It was like

laughing at his own jokes to cover the fact that no one was laughing.

I think that was a nervous tic, actually. Maybe he sensed

that he didn’t really know what the point of the story was.

Fillers, there were some fillers, when he should have just breathed

instead of saying um. I think the problematic thing was just

the general confidence of him. Here’s this big tall guy, you know,

and he’s a tennis pro, knows a lot about music, and you’d expect him

to know a thing or two. And he does but he kept getting in the way of himself.

 

William, by Tomas Januska (from the Gravity Series)

William, by Tomas Januska (from the Gravity Series)

 

* This sort-of poem is a riff on some feedback that someone gave in a continuing education course I am doing at the moment called ‘Speak With Presence’, which is about overcoming nerves about speaking in public. We had to give two-minute impromptu speeches today.

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Three things

Here are three totally inconsequential things, going backwards in time.

1. Eventually I’ll write a full post about this, but on the weekend I went to a continuing education course called ‘Speak With Presence’. It was the first of a three-parter. You can guess what it’s about. You can guess how awkward it was. Here are a couple of things that happened.

There was this moment when the group (there were twelve people, including me) were supposed to imagine that our feet were connected to roots that extended far into the earth. We had to allow our legs to sway gently from side to side, then the pelvis, and slowly up until our whole bodies were engaged in a sort of rippling figure-8 movement – all this with eyes closed. Surprisingly enough, I was getting into it. It was quite relaxing, and knowing that everybody’s eyes were closed was freeing. I imagined myself swaying around like a reed in the wind. But, when my focus momentarily lapsed, I felt a sudden overpowering impulse to open my eyes. I couldn’t resist – I opened my eyes. I saw everyone in the room lurching weirdly around. Someone else had his eyes open and was staring feverishly into the middle distance, swaying. I quickly closed my eyes again. The whole course was like this: seeing unsettling things, and seeing myself momentarily reflected – and turning immediately away in wilful blindness.

At the end of the session, we stood in a circle. A few volunteers went up, one at a time, to the head of the group, where they stepped into an imaginary circle in front of them. The circle was supposed to represent the quality that they hoped to embody, for instance confidence, charisma, or ‘ease’. Once in their imagined circle, they had to slowly, fluidly, sweep their gaze around the room, looking into every person’s face, silently, while ‘projecting’ their chosen quality. That was hard work. When an everyday human behaviour, like looking and smiling into a person’s face, becomes the central occasion, rather than a peripheral one, well, that is a special and intense kind of human awkwardness there. Again, I couldn’t meet anyone’s eyes. There were only a few minutes left to go, so I gave up and sank into my old, comforting, delicious, evasion – and it felt good, and right.

2. A couple of weeks ago I did a poetry reading at Te Papa, part of the annual Writers on Mondays series. Before the reading, I was nervous. I was walking down the street towards the museum, thinking about the reading and hoping I wouldn’t botch it.

One of the reasons I was nervous was because one of the poems I would be reading, ‘Avoid’ by Tim Upperton, had the name Federico García Lorca in it. (The line in question is: ‘Federico García Lorca, that all-night talker.’ The poem is essentially a list of things you should avoid.) I was worried that in the heat of the moment I would pronounce the name badly. So, as I was walking along, on a quiet stretch of street, I started softly chanting to myself, ‘Federico García Lorca. Federico García Lorca. Federico García Lorca.’ Saying the name repeatedly calmed me, and I realised it really wasn’t that difficult to pronounce.

Then, as I was mid-Federico García Lorca, out of nowhere, a man appeared. He was sort of hunkered down reading his phone, behind some sort of wooden post, and he looked up sharply and stared at me. I nodded and continued walking, which was a big effort, because I was so embarrassed. But in the midst of the embarrassment I realised I wasn’t nervous any more. It was as if the nerves been burnt off by the heat of the embarrassment. I thought, ‘Oh, who cares.’

It reminded me of one evening the previous week, when I was walking home, and I had passed a woman who was striding in the opposite direction. She was wearing a fluoro pink jacket that stood out in the dusk, and she was saying loudly, ‘Pink Floyd. Pink Floyd. Pink Floyd’ as she strode along.

Anyway, later that day, after my poetry reading, Tim Upperton wrote to me to tell me something strange had happened. His neighbour down the road was having some trouble with his son, and he had had to barricade himself in his room, so Tim went around to help out and to cook him some dinner. He set off into the night.

As I walked down the dark street I was muttering idiotically, “Federico García Lorca, Federico García Lorca,” over and over – and this other pedestrian appeared out of nowhere! It was your scenario all over again. God knows what she thought, and I tried to make out I’d been addressing her all along, with a hearty “Good evening!”

 

3. A few months ago, there was a Cliff Fell poem called ‘Once’ on the NZ Poetry Shelf blog, and while the poem was great, the author photo was incredible. And while there was this thorough, searching analysis of the poem, there was no mention of the author photo, which, in a way, made the photo even better, as if it was a thing so unthinkable it must not be spoken of, especially in the presence of poetry. Basically, in the photo, Cliff Fell’s face is protruding through a head-in-the-hole painting of a freakishly muscled Fabio-type who is grasping the shoulders of a swooning woman. There’s clearly a strong headwind because the woman’s dress is flying up and their hair is swished back from their faces. There are palm trees behind them, so they’re on some kind of tropical island. The expression on Cliff’s face is benevolent, maybe slightly cranky. He looks a bit like Madril from Lord of the Rings. The whole thing could be the cover of a novel you’d give your slapstick uncle. It’s sort of awful, but it’s not boring, and for that reason I like it a lot; I like the gumption of it.

I emailed Cliff Fell to ask him what was going on in that photo. He said, ‘It was very liberating, actually, sending Paula that shot. I felt like I’d run away and really joined the circus.’

The photo came from an art show, a 2012 exhibition called Love For Sale at the Refinery in Nelson by two Nelson artists, Claire Ellery and Kirsty Keen. It was a great, funny show – and clever. The only downer was I got a $150 ticket on the way home for failing to stop at a stop sign. … [Cliff then went on to detail a mud-slinging argument with a police officer.] Author photos – ah yes, so much to be said about them. In theory, how wonderful to be asked for one. In practice, so stressful deciding which to go for. Obviously there are key things to consider, like: smiling/not smiling; hat/no hat; look like Bob or Tom or Leonard and so on. Here’s another good one: looking at the camera, or 3/4 profile looking like you’re studiously actually doing some writing. What a joke! I have a photo file called “author photos” but I don’t like any of them. Hence this latest. Here’s another choice: full body or full-face close-up. …
Actually, last night, reading Nadezhda Mandelstam’s Hope Abandoned, I came across a brilliant passage on Osip Mandelstam’s author photo, done for a Soviet magazine in 1927, the photo of him in a sweater.

Mandelstam sweater

The gist of the passage is that the photo appeared in the same issue, ironically, as the first portrait of Stalin as Soviet leader, and Nadezhda’s point is that photos of politicians have to be theatrical – look like and offer the promise of something that they’re not really, whereas the photo of a poet should offer exactly what and who they are, at some deep and true level. Of course, things may have changed since then, as I suspect we’re now to some extent into presenting a constructed image of ourselves, albeit (generally, though not in the case of my Love for Sale image) a subtle rephrasing of one’s “self” . . . but I think she’s right.
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