Archives for posts with tag: Authenticity

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I have developed a thing for mirrors.

In my new space, I have a large one, something I have never had before. In fact, I pretty much avoided mirrors up to now, large and small.

Matthew Sweeney’s take on this resonates. From his essay, Huge Mirrors:

“This is an old apartment and therefore the mirrors are huge and ornate. They go with the high ornate ceilings… The problem is I’ve never been too fond of mirrors. I rarely look into them, and only then to make sure my hair isn’t sticking up, or there’s no toothpaste showing, or when I’m fine-trimming the beard, to make sure I’ve missed no section… As for gazing into the mirror to see if  I look OK enough to go out into the world, or — perish the thought — if I look attractive today, the answer is no wayQue sera, sera, as the song goes.”

Now, I seem to have swung the other way; I have deliberately chosen to house a large mirror in my otherwise sparsely furnished apartment. And I have positioned it in the living space so that I walk past it frequently, thus catching at least a glimpse of myself several times a day.

Sometimes I stop and stare.

Sometimes I watch myself dancing.

Sometimes I take selfies.

I have been reflecting on the why—the why of this shift in my relationship with mirrors, or at least with this one in particular.

At work, I initially resisted switching the camera on for conference calls, not wanting to be perpetually confronted by my screen face. I now no longer care. Not only does it not bother me, but I seem to have developed a intense curiosity about seeing “myself”. And this is not because I consider that age has suddenly made me attractive or “nice-to-look-at” ;)

I think it is more about shunning a previously held dualistic approach to personal identity. I have spent most of my life in my head, largely ignoring my physical self. My mind was an okay place to spend time and I could quite easily justify indulging it. I still do. Buying books is not difficult for me. Buying clothes can be more challenging.

This emergent sense of the totality of me began when I discovered yoga. Not only did it show me new ways of engaging with my body, but it also revealed how my mind and body could work symbiotically. Although I play the piano and the cello, I had never previously experienced the same synchronicity. Yoga encouraged me to believe that these two aspects of my self could be “friends.”

Hiding less from my physical self, I feel that I am getting to know me more authentically, more honestly, and thus moving towards a better recognition (and acceptance?) of self. As we approach another new year, my thoughts are not so much about changing me, physically, mentally or spiritually, but more about enhancing the me that I now see so that all components of who I am might live more harmoniously together.

As I walk by my mirror, and catch a glimpse of a reflected self, this witnessing of me, by me in the absence of others, reassures.

I exist. And my mirror never fails to tell me so.

 

CQ

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I love The Shed, a temporary (or at least that is what I assume…) theatre on the Southbank, which successfully manages to combine impressive creativity with the intimacy of a small(er) venue.

nut, by debbie tucker green (lower case deliberate), which currently plays at The Shed, exemplifies this achievement. Relatively short at just 75 minutes, nut is a moving, unsettling, and thought-provoking poetic piece. Twenty-four hours after I saw it, I am still considering what it was that I experienced last night.

On one level, the play might be read as a relatively straight-forward narrative, but then, it isn’t. The central character is Elayne, who we are introduced to at the outset as she plans her funeral. We gather that Elayne is on medication, and we presume that this is for a ‘mental illness’ as self-harm is revealed.

Elaine is never alone on stage. This is a polyphonic piece, and throughout the play we are introduced to 6 other voices and characters, all of whom are integral to Elayne’s life. What is less clear, is whether these others are external or internal to Elayne’s world and psyche. Whichever, it matters little as we watch a fragment of Elayne’s life (and suffering) unfold before us.

I loved how the dialogue overlapped, creating a seamlessness between all the characters. Elayne’s world, with all its ‘players’, felt tangibly real, and authentic. The acting was hugely and uniformly impressive throughout.

In Scene One, Elayne considers what might be said at her funeral:

‘It would start with something bout how I am…

…Not no shit about how people think I am but

how I (am) how I really / am.’

‘They’d know cos I’d tellem. What bits I did

and what bits I didn’t. I’d leave a taste, leave

an odour somethin that’ll linger longer than

the service – an emotional stain -‘

Amidst the pathos there is also much humour, and we laugh, when invited to do so.

nuts is a mysterious piece, mysterious in the sense that it is obtuse and delivers no easy answers. That is also its strength, as it thus reflects the lived complexity of life, which is never straightforward.

‘…If there ent no bell. People get confused.

It’s confusing…

No bell is like no interest. Not interested.

Don’t care – don’t wanna / know.’

‘If you had an outward view, a curiosity, a

natural curiosity like normal people – …

…by havin no bell that works – and it’s not

bullshit – is confusing. Says something

about you – …

…says confusion, says you don’t give a shit…’

CQ

The more I read of Stephen Dunn’s poetry, the more I love, and gain.

I think I most love his pragmatism, his way of saying things as they are, unembellished, direct and authentic.

From his poem Sadness (Staying Alive: Real Poems for Unreal Times, Neil Astley (ed), Northumberland: Bloodaxe Books, 2005, p.120):

‘I told my friend who courted it

not to suffer

on purpose, not to fall in love

with sadness

because it would be naturally theirs

without assistance’

 

Honest, and true, and encapsulates it all, with the merest of words…

CQ