Persecution of the internal kind

At night he calls out in his sleep to unknown assailants who populate his dreams. ‘Stop it’. He calls these words out repeatedly and when I reach over to urge him into wakefulness and away from these demons he falls silent as if I have chased them away for long enough for him to get some relief and slip into a noiseless sleep but they will be back later the next night and the next whenever he finds himself tortured by too much pain in the world.

My husband grew up in the generation that taught young boys to be tough and strong to withhold their tears and to take responsibility. Fathers were breadwinners and mothers were homemakers and although today he lives in a world where his wife shares the financial burden, he cannot escape this belief that he is only as good as the money he earns and if he stops earning then they might as well put him out to pasture like an old race horse, no longer able to compete on the track of life.

‘You made a bad bargain’ he says to me in moments of despair, as if our relationship was one long contractual economic arrangement with monetary value its only currency.

This morning he did not want to get out of bed even after an early night. He woke at four and from his perspective has not slept since but when I heard the alarm ring he did not stir, though my husband is adept at closing his eyes even while sitting on the couch, even in the company of others and he gives the appearance of a man asleep but he’s not, he tells me later, when I urge him to go to bed if he’s tired. He’s thinking behind closed eyes he tells me.

Sometimes his thoughts are taken up with plans to build something: a gate, a table, a new attachment to the salami-making machine so that he can improve the output of his sausages. But other times he ruminates. I know this when he scrunches up his face, eyes closed as if some monstrous thought has crossed through his mind that is almost unbearable.

Therapist that I am, I put it down to the difficult relationship he had with his mother, an unhappy woman herself overwhelmed by the burden of six children very little money and a husband who drank too much and flew into rages especially with his sons. His father did not help much but it was his mother who visited upon him all manner of cruelty.

IMG_0087-copy_2

My husband was the second born son and he arrived in the world healthy, unlike his older brother who suffered mild cerebral palsy at birth and could never attain his full potential. My husband on the other hand was a bright boy, a quick-witted boy, a boy who refused to do exactly as he was told when he was told and in his mother’s eyes he was naughty.

‘You ungrateful wretch’ she said to him whenever he challenged her authority.

My husband believed his mother preferred girls to boys, a view which clashed with my own experience of a mother who to my mind preferred her boys.

We came into this marriage with different mind states therefore, made worse by the fact we had four beautiful daughters, four daughters who became my husband’s pride a joy, the reason in his mind that he continued to work hard, the reason he went back to study law, the reason he left the Commonwealth Public Service and sought to develop his capacity so that he could earn enough money to pay for their schooling to renovate our house and to cover all the costs associated with a large and growing family. In his mind he did it all for them.

I have argued with him that this is not entirely true.

This is the myth of the old generation: man as bread winner; man who justifies his existence by going out into the world each day and bringing back the bacon, the bread, the money, the means by which the family unit can continue.

But my husband was not the only one to earn money. I helped, but somehow my work and earnings count less in his mind than his own.

Beyond his work, he took on hobbies, multiple hobbles and tried to perfect them. Here lies the rub. He tries to perfect things to the point where nothing is ever good enough. Nothing reaches his standards of acceptability and so he chides himself for his lack of standards.

He expects too much of himself. I fear he expects too much of me, too, but at times I morph into being as his mother, who also expected great things from him. He is in the grip of his mother’s criticism these days and no sooner do I ask him to do something than he hears me issuing commands.

Many years ago my husband taught me the importance of honesty in my requests. Don’t ask ‘Would you like to do such and such.’ Don’t ask ‘Are you doing anything tonight?’ as a precursor to asking more. Don’t ask a person indirectly in that not so subtle manipulative way that women of my mother’s generation used in order to get their way. Be direct.

I agree with him, the direct request is one to which a person can respond with a clear yes or no. An indirect request, a manipulation is harder to tackle.

I have learned to ask directly but even now my direct requests come as commands to my husband’s ears so I become wary of asking even as I all but ordered him out of bed this morning.

‘You’ll feel better,’ I say, once you’re out and about. If you lie in bed you just torture yourself.’

In my mind’s eyes I see his father, a man who spent the last several years of his life in bed, sly drinking and listening to the races until the Korsakoff’s (brain damage from too much alcohol) hit and he lost his memory and wound up in a protected facility with minimal control of his gambling card and a life of inertia.

My husband seeks oblivion he tells me, an escape from the endless tyranny of his mind.

I do not remember a time when he was happy for any extended period of time. He had his moments of fleeting joy but nothing sustained. Contentment is not a word that comes to mind, just this endless cruel striving and a man who continues to say things like: I still haven’t figured out what I want to do when I grow up.

For a talented man, a man who can do almost anything he turns his mind to, in the preparing of food, of cooking, of word turning, jewellery making, photography, house building, interpreting history and the law in its many manifestations, writing, reading, and when he was young running long distances, all these gifts and more and yet he cannot find happiness at his finger tips, only this endless restless search that is more often than not punctuated by cruel persecutors who tell him he is no good.

Watch further, if you can

Several years ago I studied Dutch. A language both foreign and familiar to me. It’s the language I was born into, which my parents and siblings soon supplanted with English cadences, a BBC type English, with its sharp consonants and strict grammar.

It came back to me last night when I began to watch a movie, one set in 1888 in Amsterdam. An historical drama, something I typically enjoy, a so-called period piece, a film that throws me back in time.

Its lofty title, A Noble Intention, suggested something heroic and fabulous in the dramatic sense of the word, but as the introductions rolled on and the Dutch words both filled the screen and my ears, I felt a mix of comfort and unease, which was magnified once the film began.

The story starts in a rough thatched cottage on what looks to be a cold evening somewhere in Holland in the countryside. A family huddles together near a fire and a small boy, maybe four or five, plays with a series of silver objects that look out of place in this rustic setting. Family heirlooms or stolen loot, it isn’t clear, and then the camera pans from the boy back outside to where a group of thuggish young men break through the door of the cottage and begin accosting a young woman inside the house.

She looks to be about sixteen and as soon as one of the louts grabs her, she screams out ‘Laat me gaan’ Let me go.

Another thug pushes the father to get up and play music. He holds a knife to the father’s cheek so the father has no choice but to take up his fiddle and play.

The music in the background intensifies to fever pitch as the thug holds the girl tight and mock dances her up and down the small room, she protesting the whole time.

The father plays and the small boy watches.

There are others in the room, but they are mere backdrop to the thugs or central family members.

The drama surrounds the father who plays and the girl who calls out ‘Papa. Papa.’ Then the thug pushes her onto a table, undoes his trousers and proceeds to rape her. The small boy can’t stand it and races out into the night.

The subtitles across the bottom of the screen throw up words of protest and of cruelty as the man rapes the girl, a scene made worse for me because the spoken words in Dutch sounded so familiar.

It could have been my father raping the girl, my father taunting this man, my father insisting that everyone play against their wishes, while such brutality is inflicted on a young girl, whom we know will never be the same again.

The camera then pans over the city of Amsterdam as imagined in 1888 and a group of dignitaries argue over plans of the city and certain desirable buildings.

imgres

Next we see the father character on a train with his much older son – I assume the small boy now grown into an adolescent – and they are travelling into town.

During the train journey the father tells a woman who comes on board with and apologises for her rowdy children,

‘I love children – Ik hou van kinderen. They grow up too soon, like this one here, my son, now almost grown who is not easy. He wants to be an architect.’

And so the film begins, but I could not watch it any further.

Let me guess, the son will grow up to become a famous architect who builds magnificent buildings in Amsterdam and the experience of the young woman, whom I presume is his older sister, will act as a spur to his success.

She may feature in the film down the track or she may disappear altogether, such are the plot devices that use the brutality of childhood, the child as witness to another’s cruelty or another’s victimisation, as spurs to the hero’s journey.

At this point, I’m ready to scream.

How can I judge this film? I have not watched much more than ten minutes of its opening and I feel an ancient disturbance in my gut. I put it down not only to the horrors of the film’s opening, the rape of a young woman, a gratuitous rape I might add but to the insistence of the language.

Women are often the spoils of other men’s battles because in these opening scenes I sensed the thugs were paying out on the father somehow, by raping his daughter. The daughter as object, as possession.

But I don’t know this for sure.

I only sense it and feel it in my bones, through the language and those words:

Do Niet, Don’t.

Hou op, Stop.

Stop it and don’t. Those words I heard my mother say more than once when my father went berserk.

But he did not stop.

The command to play even when the people are terrified, the cruelty of men with strength and weapons and hatred in their eyes, is more than I can bear.

And all of that, an evening’s entertainment.