I
only have myself to blame for my all too serious, brooding attitude.
No,
I dislike the word brood and anything that stems from it. Too gloomy.
Too stern or sad of face, not that during these moments I can
actually see my face. There's not a mirror to hand, to check or widen
my eyes at as if in surprise that this is what I look like; or that I
exist, because sometimes I wonder at this: that I exist at all. That
I'm still here. Though there's no reason why I shouldn't be, why I
wouldn't be. It's just as the years roll on it seems more
astonishing.
If
I told you my years, how many I own, you'd laugh. For it's nothing.
Almost but not quite four decades. And yet I seem to have reached a
stage I don't think I ought to have reached. Even though it developed
long ago and has long since reached its maturity. There's still some
room for growth, but I think my nature is more or less set now.
I
was warned of that. But I didn't take heed. Not really. And sometimes
the course of life meant that I couldn't. How do you change the mind
anyhow? When it's a case of being, and to be so different again,
would be a compromise too far, possibly. Which is The
Old Lady in the Van's
favourite ending. Possibly. The risk doesn't seem worth it, though
Alan Bennett's Miss Shepherd wouldn't have agreed with that. She was
always taking them, though some of them might be thought small, too
everyday. At least in the years Alan knew her (do I have the right to
call him Alan? So presumptuous of me when I only know his writing and
not his person). To me, Miss Shepherd's way of living was risky. And
uncomfortable, though she appears to have liked (and thrived) on its
many discomforts. It was independence, after all, of a sort always at
odds with society. She needed to be free, I imagine, of ties. You
grow used to what you know. And feel safe in it.
The
risks I contemplate seem too endangering. And to contemplate them now
also seems unwise, somehow. Others commit them or to them every day,
with far less thought. Sometimes without any because they possess
more certainty in which paths to follow and which to not, or have
more faith that whichever they take will work out. And if it doesn't
(and even brings sorrow with it) it's just one more adventure.
Whenever I make comparisons with these others (which is something we
all do, but should never do) I only ever perceive what they have and
what I lack, such as decision-making prowess and action: acting on
impulse rather than proceeding with caution and talking themselves
out of it. They don't think, they do. Perhaps they don't have a
choice; that is the only option. Whereas I would still contest it.
Wrestle with it for a bit, and then more than likely do nothing.
If
I suddenly chose to follow a more conventional (and more sociable)
lifestyle, then I would still exist but on the brink of extinction,
if you get my meaning. A front would be put up and the real person
would be at the back. I think I do that to some extent anyway, to
cope in some situations, but I wouldn't want to become locked-in.
Trapped. Hammering on my eyeballs. I guess that's why I have so much
sympathy for and with those that are, literally and physically, and
who wish to die with dignity. But that's another matter entirely and
not up for discussion. Not now. I just didn't want you to think I was
using that metaphor lightly. I don't. I live in fear of that
struggle, for myself and anyone else it might come to.
And
yet, I suppress myself in so many regards. My impulses, when I have
them, I don't think are like those had by others. They shouldn't for
the most part be acted upon, and if I let them sit they will pass,
despite sometimes driving me almost nuts in the process. But when
they have naturally dissipated, I think: Thank God I didn't! Which is
one of the only moments, if you discount saying grace, I thank God.
I
know my regrets – I don't like the word regret either but there we
are - and I know my obsessions, my funny ideas. I know my character.
Not that I think it's fully formed, but it's more fixed than ever,
possibly.
I
was warned.
Picture credit: The Fan, c.1919, Marie Laurencin, Tate artworks
All posts published this year were penned during the last.