Late night trumpet calls

My husband has been away these past few days and I have been sleeping like a top, sleeping so soundly the hours pass in an instant. And it’s not because I do not miss him.

How can I write this without seemingly taking the mickey out of the man I love? I have been thinking on this issue for some time now. Ever since I read Lynn Freed’s wonderful book on Reading Writing and Leaving Home.

My husband has left home, albeit briefly, and I am left lonelier, but free from his incessant snoring. Lynn Freed writes about snoring stories as the great stories of revenge, the way in which at dinner partes, women, and it is usually women, tell stories about the nature of their husband’s snoring. They can keep their fellow dinner guests in stitches as they regale them of the horrors of those late night trumpet calls, while the husband, the poor perpetrator of said snores is left humiliated and in shame.

Two generations – asleep and snoring?

It’s true. I do not write about such things as a rule because I do not want to humiliate or belittle the ones I love, or do I?

My thesis topics pops back into my mind. It has been absent for several months now. I’m still waiting to hear whether or not I have passed. Life writing and the desire for revenge. The way in which a desire for revenge can inspire writing, not that I want to take revenge on my husband or do I?

I cannot talk easily about his snoring. He finds it insulting. He tries to stop. He rolls over when I nudge him, but even then within minutes his throat constricts and he is back at it again.

Is it his helplessness against snoring that causes him to want to throw it back at me? ‘You snore, too.’ The gut impulse. The talion principle, an eye for an eye. You insult me and I’ll insult you back. Or is it something else?

Please, don’t talk about sleep apnoea or other common ailments. I do not believe it to be the case here. I put it down to age and occasionally too much red wine, but even when he drinks lightly or not at all the snoring persists. I play musical beds until it subsides.

The past few days I have not needed to move about. I can stay put, hence my sleep is more sound.

I have a friend whose wife snores. She is the culprit, and the same principles apply. They came to our house one day overjoyed to have found a new treatment, a sliver of something or other than you put on the back of your tongue, a wafer like substance that dissolves in your mouth and apparently stops the snoring.

My friend is a beautiful and dignified women in her sixties. How can it be that her snoring is enough to wake the dead? She smokes, her husband says by way of explanation. She smokes. Maybe that is the cause.

Smoking’s to blame. It seems we need to find some point from which we can blame the perpetrator of snores, hence the additional shame.

Snoring is treated as a crime, and yet it is one from which we all suffer. It cannot be a crime. It is only a problem when the person who shares your bed finds it too much. Or when it suggests some malady in need of attention.

As I said earlier, I put it down to aging. I am like my mother here. She ascribes every bodily ailment that slows her down to her aging. I, too, imagine that my husband’s snoring comes of his aging and he like me is ashamed of both.

Why be ashamed of our aging?

http://en.wikipedia.org/wiki/Joan_Didion puts it well in her recent book, Blue Nights:
‘Aging and its evidence remain life’s most predictable events, yet they also remain matters we prefer to leave unmentioned, unexplored: I have watched tears flood the eyes of grown women, loved women, women of talent and accomplishment, for no reason other than that a small child in the room, more often than not an adored niece or nephew, has just described them as ‘wrinkly’, or asked how old they are.

‘When we are asked this question we are always undone by its innocence, somehow shamed by the clear bell-like tones in which it is asked. What shames us is this: the answer we give is never innocent. The answer we give is unclear, evasive, even guilty … there must be a mistake: only yesterday I was in my fifties, my forties, only yesterday I was thirty-one…’

Didion’s thoughts about her daughter’s adoption, life, and early death lead Didion into thoughts on her own aging and frailty.

It’s a thing that dogs us all, this aging business. I talked about it recently among a small group of friends and most resonated, though the youngest of our group, a woman in her early forties with a small child at home, brushed it off. It’s too far away from her.

I used to be like that, too. I used to think that I would not worry about getting old until it hit me and then I’d die. But these days it hits me daily with a ferocity I had never imagined possible.

It is like wading through mud. The fact that I used to have a school aged child and that my mother is still alive convinced me that I was still a long way away from needing to reflect on this, but my daughter has just now finished school and my mother who lives on and now plans to reach one hundred, reminds me of my age.

‘You have to recognise you are old,’ my mother says, ‘when you have a seventy year old son, a forty year old granddaughter and a six year old great grand son.’

Where did the time go?

Leaving Home

We think of leaving home as a single event, the one day in our life when we finally take the world onto our shoulders and close the door on home. In the future, trips back home will be visits only and we will enter the place of our birth, our parental homes as guests only. We might still hold a key to the door, we might have visitors’ rights but that is all they are: the rights of a visitor not of an inhabitant.

When I think of leaving home I think of the day towards the end of the summer holidays after my first year at university when I decided along with my younger sister and a school friend to move out of home and share a house together. I cashed in my Commonwealth scholarship for a cadetship that bound me for two years to the Health department at the completion of my degree. My sister and her friend from school were both on studentships and bound to the Education department to work as teachers for two years at the completion of their degrees. When we pooled our resources we had enough money to pay the rent, to pay for other expenses and transport. We would survive.

‘You must leave during the daytime,’ my mother said. ‘When your father is not around.’

I had seen it before, my father’s rage when my older brothers left home, when my older sister left home, that they should dare to take their beds with them.
‘It’s my furniture,’ my father said. ‘It belongs in this house.’
The ten kilometers or so that spanned our two homes, the old and the new, may not seem such a distance to others who have left home by traveling overseas or through interstate travel, but for me it marked a void, the void between myself and my father. We did not say goodbye to him as we stood on the nature strip watching the small rental truck we had hired to carry our few possessions, including our two single beds, away.

We sneaked off in the middle of the day while he was away at work. He could not have suspected that his second and third daughters had finally decided to take themselves away. We were no longer within our father’s grip. He could no longer threaten or hurt us anymore.

Perhaps it is this failure to say goodbye that has left me with the odd feeling of never leaving home. Besides it was not the first time we had taken off without my father’s knowledge. There had been other flights from home, both day and night. The times when we went with our mother to stay with relatives, aunts and uncles for only for a few days, when our father was lost on a bender and dangerous. And there were times when we stayed with our older now married brother who had children of his own and a wife who resented our presence. What else could we do? We were homeless.

Then there was the time when my oldest brother had issued an edict to my mother that we younger children should be removed from her care so that she and my father could ‘sort things out’. It is easy to say that the arrangement my brother made to have us stay with a Dutch foster family in Camberwell broke down, as if it all happened in the blink of an eye. It did not. It took time, three months of mutual misunderstandings.

I was turning sixteen at the time. We moved from foster care with the Dutch family to live with the nuns and our fellow students at Boarding school. We moved from day scholars into boarders overnight and like other boarders in convent schools we made many trips to and from home.

Why do I lose momentum here? What happens to my mind such that I cannot keep to one train of thought, such that I find myself distracted, wanting to give up, wanting to move elsewhere, anywhere but here at this keyboard at the computer struggling to put down words on the page that might tell a story of leaving home.

Now I have left home on the page and I do not know where to go. Lynn Freed says that when you are writing you must not think. You must listen. Listen. I do not listen so much as I see. I trawl my mind for images for memories, pictures come to me and people occupy these pictures and they say things to one another but I can scarcely hear them. Their words fade in much the way the Dutch language of my mother tongue has faded from my memory.

Listen. The wind is howling through the trees. It is hot and a storm is brewing. You can see a hint of it in the build up of clouds, white and clean, with crisp outlines. They hang low to the ground, so low that from the second storey of this Writer’s House I can almost reach out to touch them. Were I to touch them would they burst?

Listen. There are birds chortling in the distance and insects chittering. The wind has dropped and for a moment I can believe the storm has passed. It is like this writing, these storms of emotion that well up in me as I type, but as Lynn Freed argues, emotions as honest and real as they may be, do not translate into truth on the page.

I am caught between two voices, as much as I am caught between two activities, as much as I am caught between two worlds. One voice tells me to go into a scene with all the sensuous detail, write from your eye, paint a picture, get into the picture, get into the life of that picture now in the here and now. The other voice says, no, write as a reflection about a past moment. Do not look into your mind, but listen.

Can I hear my father calling to me? I cannot remember the sound of his voice, only as an idea, not an experience. What am I doing back here again, always back here. My father/myself. Why?

It is not fair. I must leave home. I must find another home, another place where he does not feature. Is it his voice in my head that tells me over and over again that I am worthless? Stop this now. Write. Write into the pain. Write into the memories. Write into the rage.

Forget your audience. Forget that anyone is ever going to read this stuff. Forget that you are writing for anyone but yourself. If you want to spend page after page pondering the nature of your relationship with you father then do it. If you want to write in the present tense about memories that feel as alive today as they did then, do it. If you want to write about the past, about your mother, about your family, about anyone or anything, then do it.

Stop this voice in your head that is forever telling you off, that is forever comparing you to the person nearby who is bound to be a better writer or a worse one. It matters not. Forget the others, forget them all, these brothers and sisters in your head who are forever demonstrating to you simply by their presence that you are no good relative to them; that your claims for space are invalid; that you have no right to be heard; to speak; to say the things you say.

If you want your fingers to fly across the keyboard in this manic and mad way, writing words again and again that have no reader in their sights; that in no way consider the needs of your reader, then do it.

You are free. You are like a bird. Fly. You have left home. You can write. Stop telling yourself what to do, what not to do. Stop looking for others to do the same. Stop this chorus of demands.

Exhaust yourself, throw yourself into the well of memory and imagination and find some point of entry from where you can get some comfort.

This writing is no comfort; fingers clicking on the keyboard are no comfort. You must have something to say. Say it.

Peter Bishop from Varuna says to write out of ‘doubts and loves’. Where do we put the hate? Is not hate on a continuum with the love? The ones we love are the ones we hate, beginning with our parents.

When I first read William Gaddis’s words quote in the Sunday Age in an article by Don Watson I knew that these words were important for me.
‘The best writing worth reading comes like suicide from outrage or revenge.’

It is not the first time I have been in a creative hole as deep as this. It is not the first time that I have sat alone at my writing desk wishing for something to come to me, some thread, some thought, some feeling or image that I might follow, but it is no less painful.

I ache all over with the refusal. My mind will not give it up. My mind will not let the words flow, will not let me arrive at some point where I can think, ah ha I have it. I know now what I am writing about. I know now what this book is about. I can proceed.

I start again and again, so many false starts so many attempts to move beyond this desperate feeling of not knowing what I am doing.

And the audience whom I tried to send away only five minutes ago is back again, my parents and siblings in the front row alongside my conscience. They say to me again, in a chorus, what are you on about? We don’t want to know this. Tell us a story instead and make it good. Make it interesting.

But if I start to tell a story, I am sure I will be in trouble with someone. That someone will tap me on the shoulder and say ‘what gives you the right?’

Enough, already we know this. Any writer worth her salt knows this, so why go on and on.