claiming the land.



i hated new york this week.

hated the long subway rides. the assault of smells. the brush-bys by men who should not be. that. close.  

hated that i've taken to hiding in the stairwell when i see that one particular neighbor waiting for the elevator. (26 brings maturity, don't let anyone tell you different). 

hated that the guy at the corner store knows me. has for near two years now. hated that he knows when i'm eating well. and when i'm not. hated how his hand always brushes against mine when he hands me the change. no matter how i place my hand--inviting the dropping of the coins, he brushes up against it.  and since i have this theory (or strong-held-personal belief) that all intimacy begins and ends in the hands i find this action invasive, intrusive. 

and yet. he knows me. let's me cut the line when i'm just getting my chocolate covered pretzel. i hand him the dollar and he gives me a wink and a smile. he knows my name. always offers kindness, even when i don't deserve it. 

but this week. oh this week. 

this week i was lonely. 

seems to me as i cycle through emotions some, at certain times, are harder to admit than others. and why is that? sometimes i can't admit sadness. i'll claim everything else, but don't ask me to reveal the underside of that cloak that falls heavy on the shoulders.

this week loneliness sat heavy and oppressive on my chest. this week loneliness curled up under the two highest rib bones, wrapped itself there and clung.

and i considered writing about it. but upon the realization that somebody might actually read these words--oh god, people actually see this?--i evaded, ducked and missed the words all together, which was the first real mistake i made.

it's been harder to write, lately. as though it costs more. takes something from me. a wise friend suggested it's because my life has more value now--or i value it more, so yes, writing from this place is quite literally (metaphysically) more expensive. a side effect of getting better i did not anticipate and certainly do not welcome.

loneliness.

i thought about giving it all up this week. my lease ends in six months. i could sell my furniture. or put it in storage. take three weeks to travel around europe (because it's been suggested to me that three months would not be financially sound) and then move to seattle. or portland. and no i've never been to either of those places but i've  just this sense that i was meant for the pacific northwest. for the gray skies and massive pines and the water. for a pace of life that differs and bends.

i think i would thrive there. i have not reason to think this, no basis for this thought, other than it seems many a good musician is there now and some damn, fine writers as well, so maybe there's something in that water? and maybe that something would do me some good.

if i'm going to be lonely, might as well really be.

might as well go to a place where no one can ask me if i'm acting--if i'll ever, because no one will know me as such, as an actor, as a person who used to act. i hardly know myself as such. no one will know me at all. blank slate. fresh page. page turn.

and just as i'm having all these thoughts, just after having gotten off the train, and having passed quickly through the corner store, i look down at the bottle of sparkling water in one hand and the yam in the other. and the lack of bag, this quick purchase on the way home--it seems so very new york to me. and i love it. and i love new york for it. and just as soon as that thought passes, i pass the local restaurant and wave at my good friend from college who's perched at the end of the bar. and there is a love for that moment.

i'm trying, god help me, i'm trying to feel it all: the dislike and discomfort. the loneliness and wanderlust. the snippets of love i feel for this corner, this home. the in between-ness of this time in my life. because i know it will pass. i know this time, too, is sacred and important. i am changing now, becoming the grown-up version of myself. but oh, how the pushes and pulls make me sick to my stomach.

but again there comes that call--that push: remember this. remember this.

that's the great comfort: all things pass. sadness and loneliness. seasons of our life and slivers of time. and happiness too. and it cycles back only to move on again.

so, okay, before i rid my apartment of all my things, before i take off for europe, i'll enjoy this--this latter  half of october, when, heaven help me, i'll feel loneliness, really feel it. i'll live with it and study it and know it. i'll stake claim to it, plant flags in it, delineate territories and identify tributaries. and make it mine.

if only for a time, if only for a time...


image
via.

linking up.



the coolest thing since sliced bread: laura marling in concert recorded by npr. {damn, that girl is good}.

notes on writing. (i certainly, somewhat sheepishly, identify with that last one). {and lord help me, i hope my husband one day calls me a supernova of a human being}.

putting raw hemp on a salad the other day, i decided to google just why it was good for me. i found this. if half of this stuff is true, well then it's time for a new industrial revolution...hemp may just save the world!

i always thought ambivalence meant not caring. i had the meaning wrong. was i the only one? it means caring in two directions...two contradictory directions. i find ambivalence exhausting, but this essay exhilarating.

pumpkin oatmeal? 'tis the season.

the next cake i'll attempt to make.

definitely the kind of woman i wanna be.



image
via.

love of an...

noah&thewhale


sometimes i wish i could go back to that first night at the bowery ballroom.

take in the dark wood floor for the first time. the vaulted ceilings and small stage.  the space as an ode to a different time: a simple, uncluttered, unfettered time.

i didn't know that night would be transformative. didn't know charlie fink had been reading bukowski as he wrote the third album. didn't know he was attempting to tell stories about the outliers--a move away from the deeply personal narrative of the first days of spring.

the music that night felt redemptive. holy. a controlled bubbling of euphoria. it filled me, washed over me, touched some part of me i didn't quite understand.

and so when the night ended, i went back to the band's previous work. i listened again to the first two albums groping for that greater meaning. why was the night transformative--for me, what made the experience transcendental?




bereft.





i think bereft may well be one of the greatest words the english language has yet produced. bereft: lacking, without. the word itself is an expulsion of air. just to say it requires something, demands something.

that's the word that comes to mind when thinking of the first days of spring: bereft. a man bereft. abandoned, bereaved, utterly without.

with songs entitled "i have nothing" and "my broken heart" it's fair to say i'm not hitting on anything revolutionary here, just stating the obvious.

the thing about the second album that's so interesting is the progression of it. because smack dab, middle of the thing comes "love of an orchestra" and with it, these brilliant words:

I know I'll never be lonely/ I've got songs in my blood/ I'm carrying all the love of an orchestra/ gimme the love of an orchestra

and if that isn't a breath of air returned to the body, i don't know what is.

empty of everything else--love and happiness and hope, even--there is the music. the resurgent, hypnotic melodies that drop down, invited or not.

and so the third album, last night on earth, well, it's that love of an orchestra made manifest. it is an album about the return of joy.

in fink telling stories about those that ring the outskirts, those who live on the fringe, he unwittingly reveals the very axis on which much of humanity balances, himself included.

when things get tricky on my end, when upheaval reigns, and nothing is clearer than murky, when i feel most alone--most bereft, i remember i am filled with words. gimme the love of the english cannon, or the library, or...well, i'm not sure what the equivalent is, but you see where i'm going with this, don't you?

when all else fails i am left with words and their endless, malleable patterns. they are my music, or my attempt at such. and i am never without.

there is bereft. and there is life after. and the life after, it's just so much better. and no one tells you that, and no one prepares you for that, and those on the other side of it just don't understand. but it's just so much better. you grow up and you find balance and you feel happiness in a way you didn't even know to be possible: there is more in this world to be found/ than dreams.


and you wake one morning to find you're a better person. filled with the love of an orchestra or the love of small, tangible, wriggly words--and those words open worlds and life thrums along. only different, better. and you live your life as though it is the last night on earth because you already lost everything once and you came back from it so fear doesn't have the same hold. and we're all living on some line, some edge, some axis anyway--might as well enjoy our own precarious placement in the universe.

that night, for me, was both explanation of the past and road map for the future. and touchstone, too. reminder of where to look when even hope evades: the words. always, the words.




For our hearts are not pure; our hearts are filled with need and greed as much as with love and grace; and we wrestle with our hearts all the time. The wrestling is who we are. How we wrestle is who we are. What we want to be is never what we are. Not yet. Maybe that's why we have these relentless engines in our chests, driving us toward what we might be.

Brian Doyle