Day 5 – Circle of Friends

Circle of Friends

Three months ago, or thereabouts,
a circle of friends sang songs of hope.

Knowing we must part,
knowing we would meet again,
but not knowing when.

Knowing there would be hard times,
not knowing what.

Knowing we would all find joy
not knowing how.

Another year, another song.

The memory of that evening comes to me,
and makes me smile,
for the time when we will meet again,
and touch, and hug, and maybe kiss,
in the place that joins our hearts.

Linda Rushby 5 April 2020

It’s good when a poem comes like that, when I was getting dressed, and making coffee, and feeding the cat, and taking pots from the dishwasher. So that by the time I sat at the keyboard, I already knew what I was going to say.

Sheesh, if only it was always that easy!

Can I get away with that today (at least it’s not a haiku!) or do I have to keep on writing? Well, I set the rules, so I guess I can do what I like.

Connections and Constrictions (but no poem)

Why do I always come up to my study to write my blog on the PC? I don’t know – there’s no reason why I shouldn’t sit downstairs and write on the laptop. I’ve been working on here for the last couple of weeks, finishing off the book design job because I have software on here which isn’t on the laptop. So it’s habit, I suppose, sitting here feels like I’m doing something serious (as if).

The two poem lines I started with yesterday, I was questioning them before I even sat down to write about them, then I got carried away down tunnels of memory and snatches of songs which made me think of other things. But the distinction I initially made in my head – of a net that links versus a web that binds –  was always a bit of a false dichotomy, because a net, just as much as a web, is designed to trap whatever blunders into it. I was thinking more of a net as a network, a positive kind of connectivity, which links us with the necessities of life. As a corny example (no pun intended), the connections between people through the supply chain for food – farmers, processers, distributors, retailers, cooks – ‘field to fork’ – even that’s a gross simplification, which can be extended indefinitely in either direction, with microlinks in between. (Note to self: ‘Chain’ is another monosyllabic word, but when you think about it, that too can imply constriction as well as connection.)

There’s a lovely quote, (I think it’s from Martin Luther King), about how by the time your food reaches your table, it’s already travelled half way round the world. Though that’s not such a good thing is it? There was a time about twenty years ago when I used to get incensed about air miles – even had a letter published in The Times about it – but as always, nobody listened.

Which reminds me – yesterday I invited people to like the FaceBook page which is linked to this blog, but quite honestly, if I keep drivelling on like this, won’t I scare them all away? As I’ve tried to explain to a friend who was encouraging me to share my writing more widely, I can’t always guarantee to write ‘the good stuff’, and I don’t see the point of just trying to pick out the odd sentences that ‘work’ and sharing them out of context.

But on I go, and here I am again, pumping up the word count. Guess I should try and write another poem today, only four days in, ye gods, how am I going to do this for a whole month?

Connections and constrictions – that’s the point really I was trying to make. And perhaps the two are inseparable? Anything which supports us breeds reliance, holds us into a familiar position, if only by imposing a sense of reciprocal obligation.  You scratch my back…? ‘We’re all in this together… ‘ at a minimum distance of two metres, naturally.

A Poem That I Meant to Write

‘The net that links us

Is not the web that binds us’

Linda Rushby (unfinished)

I thought that was going to be the start of a poem, but after an hour of rattling around, nothing else has appeared. So now I’m sitting at the keyboard, and – I don’t think this has struck me before – although I usually write as I go directly on the computer (which is why my posts ramble quite as much as they do), it doesn’t work that way with  poems. Mostly they come into my head fully formed, and then I have to write them down before I forget them – like a line from a Paul Simon song of 50-odd years ago :

‘I was twenty one years when I wrote this song.

I’m twenty two now, but I won’t be for long…’

Paul Simon, ‘The Leaves That Are Green’

You said it, Paul. And the first time I heard it I was even younger – sixteen, I believe – though the song had already been around for a few years. I think it was the first time I grasped – or at least caught a glimpse of – an adult understanding of the passing of time. That and Neil Young’s ‘Old Man’ from about the same: ‘I’m twenty four and there’s so much more’. (To me at that time, even twenty seemed impossibly mature).

How did I get here from there? Oh yes, ‘The Leaves That are Green’:

‘Once my heart was filled with the love of a girl.

I held her close, but she faded in the night

Like a poem I meant to write

And the leaves that are green turn to brown.’

That one: ‘Like a poem I meant to write.’ Exactly. If you don’t grab them while they’re there, they get away from you – Poems, I mean, not girls (or boys). I wrote once about ‘catching the words in flight’. It may be in ‘Single to Sirkeci’ or it may just have been a blog post. It might be the one I wrote in Tulcea, on the Danube Delta – which would have gone into ‘The Long Way Back’ – if I’d ever got round to finishing it. Or maybe it was just a random, throw away blog post that at most a handful of people might have read.

Do poems matter more than people? That’s a bit contentious – though once out they’re out there, they can live forever – I’m not claiming this for mine, I hasten to add, but I was thinking of the likes of Wordsworth (whose birthday is next Tuesday – I have a reason for knowing that which some of you might work out), Ovid (who was exiled to and died on the Black Sea Coast at Constanta, from where I went to Tulcea) or even poor Sylvia Plath (enough said).  Even mine will still hang around for a while after I’ve gone, out on the internet and in unsold copies of ‘Beachcombing’. Some have already lasted far longer than the relationships that provoked them – but that’s another matter.

Of course – a haiku!

‘When we are ourselves.’

Linda Rushby

Raw poetry

Not a haiku today, just something that popped into my head – partly inspired by a photo of myself on Facebook from seven years ago, which I hadn’t seen before.

That’s how it goes, I think of something, and then I write it down (or not). I don’t really put any work into it. It just happens (or it doesn’t). So sometimes I share it, and sometimes I don’t.

I suspect there will be a lot of this stuff this month (unless I give up). I was trying to remember the word for oil when it’s first extracted, before they refine it, then it came to me: ‘crude’. I don’t think ‘Crude poetry’ conveys quite the right meaning, so I’ll stick with ‘raw’.

NaPoWriMo 2 (No title)

Nearly a grandmother,
wasn’t I too old
to start again?

Why do I go back,
Endlessly filleting
the years that were?

I’ll never change the past,
The present’s hard enough

Sunny days beside one river,
or another.
Mornings on a beach.
What’s here is now,
Another spring.

Linda Rushby 2 April 2020

NaPoWriMo Day 1

Sunrise, Southsea beach

I’ve backed off from the 500 words today and possibly for the rest of the month, but I have a good excuse.

April is  NaPoWriMo, short for National Poetry Writing Month – why April, I’m not sure, it’s not as though it’s midway between NaNoWriMos, being five months to November (or seven depending on which way you look at it). Anyway, it’s been suggested to me that I might join in. Two years ago I sort of cheated and posted a haiku every day, (not to say that writing haikus is easy, but at least the typing isn’t too time-consuming). I intended to make a small hand-made book out of them, never quite got round to it. Maybe one day.

But this is today’s  poetic effort:

Morning beach, waiting
for the sun to come crawling
over the water.

Linda Rushby, 1 April 2020

The Examined Life

Socrates is often quoted as saying: ‘the unexamined life is not worth living’, but what if you’ve examined your life to the nth degree and realised that it’s STILL not worth living?

Actually, although this reflection has come to me quite independently through my own experience of life, it’s not exactly original. Just this morning I was delighted to find this version from the great Kurt Vonnegut:

Plato says that the unexamined life is not worth living. But what if the examined life turns out to be a clunker as well?

(Notice that he attributes it to Plato, and it variously seems to be attributed to both of them by different people, but given that what we know of Socrates mostly came down to us through Plato, I guess that’s not too surprising).

A similar version which I like is from Ruby Wax, who said: ‘Self knowledge isn’t always happy news’. Well, you could argue that that’s slightly different because it’s about knowledge of the ‘self’ rather than the ‘life’. But I guess self-knowledge is what one hopes to gain through examining life, so in that sense they’re directly comparable. And it’s that sense of an examined life implying an examined self that interests me. Is it the events of life which construct the self, or is it the nature of the self which determines choices and actions and hence the way life works out? A bit of both, probably.

Why am I doing this? When I woke up it seemed like a good idea. But I don’t know. Been wondering for a long time about whether it’s worth trying to write again. In my heart of hearts I know it’s all pretty futile. What else would I rather be doing? Right now? Listening to the radio and crocheting or weaving? Playing freecell or Killer su doku? Walking on the seafront? Eating breakfast? All pretty futile, apart from breakfast. Washing up, hoovering, sorting out washing? Clearly, I don’t want to do any of those, and am an expert at procrastination when it comes to all of them, in fact I carry it to such an extreme that I prefer not to have friends so that no one comes into my house and sees what a shit-hole it is. (Actually there are other reasons why I don’t have friends, but that is quite a significant one.)

So, examining self/examining life. Begs the question of to what extent there is a single ‘self’ to examine. Clearly, the ‘self’ that I know (and hate) is quite different from the person that other people perceive me to be, which is frustrating at times, but on the other hand, is probably the only reason anyone has anything to do with me at all – if they knew the me I know, why would they bother? If I could get away from myself I would – in fact, I have tried in different ways at many different times, but it never works. One of the repeated motifs that has appeared though my examination of my last 60 years of life, the impulse to run away and keep running, which is continually thwarted when I realise that nothing inside has changed, and being in a different place is only superficially preferable to what went before. Now I have reached a place where I really feel I have nowhere else to go – that’s wisdom, I guess. No point in wishing for anything better, looking to the future and hoping for a change. When I moved here I was reminded of the Eagles’ song The Last Resort: ‘There is no more new frontier/We have got to build it here’. I came to the end of the country, with nothing beyond but sea (and the Isle of Wight, of course, let’s not forget that). My last dream, my last throw of the dice, and here I am.

Yesterday I saw my shrink and read her this poem, which I wrote in 2017:

The Awkward One

I never learned to smile.
I never learned to play the happy fool,
to put them at their ease,
to read their minds.

So I became
the awkward one,
the difficult one.
I learned to be alone.
I never learned to make a friend,
I never learned the way
to make them love me.

I hated mirrors, and cameras,
I hated the plain, sulky face
they showed me.
I knew that face,
with its curtain of straggly hair,
and that skinny body,
would never be loved.

I never learned to turn on the charm.
I had no charm.
I never learned to play the game.
I turned inside myself,
became invisible,
played my own game.

Afterwards, she said: ‘that last line is quite hopeful. You played your own game.’

Really? I suppose I felt I had to put something positive at the end, but I’m not saying that’s how it was. I didn’t choose to be that way (except maybe in some very deep self-hating, self-punishing way), I’m sure that as a child and teenager I would rather have been accepted by others, liked even. It was just an adaptation to the reality of not being the sort of girl anyone wanted to be with. I did say to her ‘it’s a kind of sour grapes’ and the more I thought about it, the more that seems to be true – ‘Nobody loves me, everybody hates me, I’m going down the garden to eat worms’. When you have no one to play with you have to make up your own games or do nothing at all (of course, what I did a lot of the time was the classic lonely-child thing of retreating into books). As I said to myself when I was alone in Paris in February 2012: ‘I’m still the woman nobody wants’, and that is just as true now as it was then and as it was 50 or 60 years ago.

Ah well. The examined life. Maybe I could start a new blog with that as the title. And what am I going to do  with this? Where should I put it? Somewhere where there’s a possibility of it being read? Or where there’s a theoretical possibility, but I know no one will bother?

Madwoman in the Attic

If I was going to write, how would I start?

I had the beginning of a poem earlier when I was watering the plants, if I can remember what it was:

If you could see me as I am…? Something like that.

But it’s gone now. Bugger.

Anyway, no one sees me as I am. That’s the point. The old chestnut.

If I keep picking and picking and picking away at this, will it ever lead on to something else, some kind of breakthrough or revelation?

Wish I could remember that effing poem. It’s gone now. It had a good rhythm to it, and some internal rhymes. Something about: ‘…where the broken rivers run…’ I remember thinking – how can a river break? But it didn’t matter because it fitted. Bloody obscurity for its own sake, that’s what it was. And ‘through the cracks between the pavement…’

About the real me who is inescapable and always torments me but no one can ever see it/her.

You see, the myth is that when you find your True Self, everything will make sense and you’ll find peace. Except my True Self is a bitch. The more I get to know her the worse it all gets. She’s the one who makes me cry in the night with despair, but I can’t stop her or ignore her or get away from her because she’s me.

And if I say: ‘I will accept myself as I am’ that means accepting her. If I can’t root her out I can never find peace. But the more I dig away at her, the deeper the wound she leaves. So what does it mean to accept her?

Accepting loneliness. Accepting anger. Letting go of the dream of ‘love’, but without resentment.

The path of acceptance feels like the path of papering over the cracks. Or perhaps a better metaphor, filling in the cracks in the pavement with wet mud, which dries out and crumbles or washes away in the rain. I remember doing that as a child, over and over again. It never worked, but I kept on playing at it. Till I got bored and gave up. Which, of course, is what I always do.

Can I escape into meditation? How deep into that despair do you have to go to find a place where you can rest in emptiness?

The woman who cries in the night is trapped – labyrinth, hall of mirrors, which is the correct metaphor? Or that one from the Cat Stevens song when you end up back where you started?

Whatever, she is in a trap: she cries for love, but when she cries no one can love her. So she cries for the knowledge that she will never find the love she craves. Because love is always partial and conditional: ‘We will love you on condition that you stay happy and don’t give in to despair.’

So the despair has to be hidden away. The Madwoman in the Attic. She’s still there.