Coping Together: Carers and Eating Disorders

01/09/2014 at 19:45 (Anorexia, Personal, Reviews) (, , , , , , , , , , , , , )


I remember the look on my mothers’ face, as the doctor uttered the words that would change our lives forever. Frozen, all colours and none, it was a diamond-expression, with every conceivable emotion flitting from one facet to another. It was autumn 2001, with a darkening sky and bitter winds, and I shivered in a thin top. There was a method behind this – a little tip I had picked up from reading a celebrity magazine. My mother, of course, had no idea, and I wasn’t about to tell her of all the neat little tricks I had developed over the summer of chaos, when my life spun down as the golden leaves outside, crackling now with a riming of ice.

After leaving compulsory education and starting at a new college (with the fear of loss nesting in my chest, watching others pull ahead in classes where I had once set the pace), getting involved in my first “serious” relationship and discovering that the abuse from the year before had dulled my appetite for sex – not that I was about to admit any of this – I had flung out my hands for some kind of equilibrium. An anchor. Anorexia had quietly slipped in and wrapped chill little fingers around mine; told me things, about how dieting for my school prom and upping my fitness regime, would make me a better person. Not just feel better, but be better. I could finally get some order into my life; concentrate, hard, on such things, while the rest of the world went on smoking and drinking and eating and losing itself in flab.

Such an innocent arrogance, a thin-ice superiority. I am above and beyond you – look how I disappear.

Listening to my mother’s voice crack, as she asked the doctor how long my treatment would be, I hunched over my chair with white knuckles. I was cold under the skin, in a way that no fire or radiator could warm; there were red welts to prove it. A slimy fish-oil guilt went sliding through my mind. I remember that vividly, fourteen years on. My Ma had not worked while caring for her family, me with two siblings; now we were growing up, and she had taken what opportunities came her way – especially after the divorce, when she learned her own mind. She had become the co-partner of a private firm, and was progressing at a rate which – looking back, with the heavy heart of retrospect – I wish I had been well enough, old enough, aware enough, to fully appreciate. There are a lot of things I have allowed to slip by without notice, being strung out on anorexia and its symptoms. The very last thing I wanted to do was deprive Ma of any business prospects, any chances of promotion. Most of all, that keen look on her face, whenever she talked about work. She looked great, too. A handful of boys in school often remarked upon it. They were only friends, only teasing – and still. And still.

But in that surgery, she was my Ma, full of the cold-fire defiance and steely tone (masking her fear) which I remember so well. I often wonder if I got the dagger-chin from her, lifted to face whatever challenge presents itself. My ex will know what I mean.
I was curled over like the leaf husks, aching with hunger right into my bones, with a low-grade sneer that told everyone quite plainly that I had no idea of the very real threat to my life. It didn’t matter when the doctor told me that this particular mental disorder, anorexia nervosa, held the dubious claim of the highest mortality rate among depressive illnesses. All I could focus upon was the white static in my head, telling me that they were going to make me fat. Even more unloveable, unnoticeable; while paradoxically, the shivering fear inside wanted just this, and more. It was, and always has been, the push-pull of wanting to be recognized and appreciated, while craving the fate of the blue ice outside, ready to vanish when you breathe upon it. Fade out of sight, out of mind, the control of others.

The part of me that was still Me, fretted over becoming a burden to my mother. The build-up plan that the GP was trotting out – the medication for depression, which he was ready to prescribe – was not going to be cheap. Ma supported us both financially, since I was no longer well enough to work my part-time job, and college was already dwindling into the lamplight haven. The Thing crouching in my head, didn’t allow for intrusions.

It also didn’t want me to have a carer. This would mean constant surveillance, the thwarting of starvation and purging symptoms (frenetic exercise, and shivering in thin clothes, being only the start of the coil.) The bigger picture – which I could not see, dialled down on these absorbing details – would be weight gain, of course, but with the parallel therapy treatment which would examine whatever thoughts and emotions resurfaced. For any of this to happen, I would need to be placed under my mother’s care, since she was the only person available at the time (though I would go on to wreak havoc in my Nanna’s comfortable routines, to give Ma a break for a bit – even the most beloved relatives are not spared, and anorexia has fingers that like to pinch and needle. I still grieve over that time, though our bond is now stronger for it.) All the carefully-learned, unwillingly-met responsibilities of early independence – choosing food, and its preparation, running under the lamplight each evening – would be taken away, allowing Ma to protect me from the panic attacks and obsessive-compulsive rituals which had begun to appear in earnest. We didn’t twig at the time how much this would be weight-relative. Had I known what the following two years would bring –

No, it probably wouldn’t have made a difference.

It’s only now, over a decade later, that I can look back on the reality of that situation. We were muddling through. The fear and tension were palpable in the house, with only the two of us living there, and so often going around in circles of constant-questions-asked (“how many calories in this? can I rest now? No, I’ve not done enough, I’ve eaten too much.”) Ma kept on working to support us, often pulling such wearying shifts; while struggling to understand how the child she had raised and nurtured from a baby, was now slowly killing herself. She told me some years on – when we were able to look back on those blue-black days with rueful smiles – that at my worst, she would wake each morning and expect me to be dead, either by my own hand, or the physical side-effects of anorexia.

Imagine living with that, day in and day out.

By 2003, the  illness had become too contentious. Our mother-daughter relationship was frayed to its edge, despite the help of other family members. I trusted only Ma, and my Nanna, to look after me “properly”, and then only in the (decreasing) lucid moments. Her own life had become a coil of watching for my self-destructive behavioural patterns. She had lost weight, and I noticed, with a venom that makes me cringe to remember. All of the normal hunger cues were long dead, replaced by a continuous gnawing starvation, which sparked into panic around meal-times (yet more questions, frantic pacing, surreptitious trips to the bathroom to throw away food. She knew it. She was just too tired to stop me.) My skin was full of holes, with patches in my hair. We tip-toed around each other in the house; I hated having visitors, because they disrupted my routines of exercise (I rarely went outside by then.) The world seemed a lost cause.

An inverted kaleidoscope.

The worry and strain of living in that state of constant alert, left Ma exhausted. She had little time, or patience, for others. Anorexia had driven us into a spiral of negativity. Her love for me – at her own admittance – was sometimes overshadowed by hatred for the Thing in my head. As Granddad once put it, “Hate the act, not the person.”
It was becoming increasingly difficult to do this; to discern the real Me from the illness. That was when we knew it couldn’t go on, that outside intervention had to step in. The guilt tore Ma apart at the time, but I know she did the bravest thing imaginable. She walked away, letting the professionals take over.

Of course I wanted to make her happy – I hated seeing her upset, but the guilt associated with this – the denial of hope that I could recover – drove me further down into symptoms. “I can’t please anyone.” Deadening all emotions, I became convinced that my mother would be better off without me.
In light of this, my local psychiatric team broke the cycle at the prevalent moment, before the thread was cut. I would receive care in a neutral environment, away from outside influences, where staff were trained to cope with anorexia and is barbed comments, to look out for its sneaky ways. This would give my mother a break, while effecting some actual change to my physical and mental well-being.

Recovery from an eating disorder does not begin or end overnight. It is a day-by-day, year-on-year battle for many, with each case a process of rediscovering the true self, in conjunction with therapy to root out the cause = effect of underlying factors. These will be reflective of the circumstances and personal history unique to each individual; though in terms of how symptoms are presented, the song remains the same.

It’s always worth considering the involvement of carer(s) in the recovery process. To my knowledge and belief, no one with an eating disorder can effectively contain and manage its symptoms alone, healing without help – the love of a partner, the spur of a close friend, the attention of a teacher or guidance counsellor. There are in/out patient units available across the country, with staff who are able to deal with mental illness in a professional capacity. For a carer, it is a matter of choice, of emotions, of instinctive protection. It is learning the basics from scratch.

I would certainly not be where I am today – able to function independently, work full-time, socialize, write articles like this one – without the support of family and friends, who continued to pop in to see me whenever possible (even if I didn’t want to see them), lending my mother a helping hand, reminding me of who I was in school. It’s been a long process, and at times, I think some were scared off by what they saw – afraid that they would do more damage, perhaps. Others continued to see the person locked beneath the ice; there was the boy from school, the one I loved and never found as my own, who would text silly stuff to make me laugh while in hospital. He also invited me out to house parties, and knew when to keep quiet if I just felt – for once – like talking.

It is of the utmost importance to remember the child, the partner, the individual, with character traits and preferences wholly separate from the eating disorder.

Significant improvements have been made to the level of support available for carers – giving strength to the ones who must be strong – since my time in hospital, with the internet playing an important and interactive role in disseminating advice, both personal and professional. Nothing gets down to the heart of a matter like a shared experience; family members, those closely associated with someone suffering from an eating disorder, can feel less alone when speaking out on carefully moderated forums that are (rightly) kept separate from those available for sufferers. Here, discussions on topical issues can take place, with the guidance of mods, in a safe environment built upon mutual trust. As a matter of principle, I have never asked my mother for her personal thoughts / emotional reactions concerning those days when she looked after me; all the information I do know, was volunteered some years later, when our relationship was on more steady ground, and I was in a secure enough state of mind to deal with the sometimes painful truth.

Organizations such as the UK-based charity Beat, host message board forums and online tutorial workshops, with the aim of raising awareness of signs and symptoms to watch out for, while providing crucial advice on how to maintain as relatively normal a life as possible around the eating disorder. I say “crucial”, because – above all else – life must go on. With convoluted routines linked to the practise of disordered eating (starvation, binging) and any subsequent purging (exercise, vomiting, etc.), a sufferer may isolate themselves in such a way that is detrimental to their relationships. It is important to recognize this for what it is, and to reassure the sufferer that they are a firm part of a unit, and not alone in recovery.

The person with an eating disorder is likely to experience periods of depression, anger, hopelessness and despair. Home may feel like a battleground with parents or partners feeling that they have become the enemy. It is important to remember it is the disorder that is taking over, and not the person who is changing.”

To this day, I am still somewhat at odds with the solitude I keep. In analysing preferences and tendencies, a fear-lockdown often occurs, should I question too much of what I do. I am left wondering how much of this is now a lifestyle, something so deeply ingrained as to be accepted for a faux-part of my nature. Would I have been a more sociable person, without the ED? Is it even worth asking this question? For the most part, the routines are linked to exercise – I am easier with eating now, having let go of a great many habits and compulsive routines while in my last relationship, though more out of necessity than any real desire to do so. Yet it was the impetus needed. They are not missed, and have not crept back in now that I live alone.

I was four years out of hospital when I met my former partner, Jimmi. Having edged back onto the dating scene through websites and social networking (these held a “distancing” effect, both reassuring and useful, in terms of maintaining “safe parallel realities” until I was able to cope with actual contact), I perceived myself to be close enough to an evolved form of myself, to try giving affection to another. The truth was felt in a low gradient of ego, a mind still woven about with thorns; I struggled to remember who I had been prior to the illness. What had I liked to do? Who did I respect, look up to, aspire to be? When I should have been trawling art galleries, going to the cinema, messing about with friends, I had instead been shuttled to and fro between psychiatric wards. Some quite formative years, as well as certain historical and cultural world events, will always be as black holes in my memory.

In 2008, using the internet for tentative steps out into the world beyond my room, it became habit to latch onto people so as to gain access to their thoughts and opinions, their preferences and dislikes. I had nothing of my own character to bring to the table, or so it felt at the time – I blagged it a good deal. This is probably true of us all, to some extent. Again, I must pull myself up – am I being too negative on myself? But I do feel like a social amoeba, sometimes.

Jimmi became something of an educative and influential force in my life. I absorbed his recommendations for literature, music, films and art, while giving back what I could – though it never felt like enough, and I lived in fear that he would look for someone more interesting, with a greater awareness of the world and its people. The latter, I still didn’t trust to any great extent, but he was a keen people-watcher, drawing inspiration from the idyllic pub gardens we sat in, the random encounters we often had while out and about. He would pull some contextual snippet out of the air, relevant to the situation, stirring up an old flicker inside me – that competitive streak, long buried inside a pillar of anorexia’s ice. I wanted my mind to work as swiftly, to be able to link one thought or concept to another in such a way that would make him laugh.

I went looking for literature that he had not read, watched films he had not seen – all of them parallel to his preferences. With each weekend visit, our discussions were fleshed out into debates, as I began setting out my own analyses, voicing opinions. I’m not sure how much he was aware of my hesitancy, the constant gnawing fear of upsetting him, or making a prat of myself. Again, this is probably true of any fledgling relationship, but it gave me more than a few sleepless nights at first … until I became comfortable enough to believe that he wanted me for Me. This would take a while, with stormy scenes between – misinterpretations, passive-aggressive warfare. His patience was balanced on a knife edge, with my inability to voice worries. Instead, he interpreted negativity through watching my body language (and is probably grinning in remembrance, if he’s reading this now) and my eating/exercise habits. No sooner had any upset filtered its way down, then meals would become a battleground and walks a forced march. My weight was a fairly safe barometer for moods.

Over time – and out of necessity, for the survival of our relationship – I learned to speak out with my voice, as opposed to symptoms. His company outweighed the need to keep silent.

I gained access to J’s mind, itself a rather private place. His interests became my interests, and it wasn’t long before I found myself thinking less and less about food. Hunger cues returned, with weight increases that saw the static-white in my head reduced to a background burr. This is not to say that the low-level moods and symptoms disappeared overnight – at times, they would rear up like wild beasts, particularly in response to a sudden change of plan or a moment of spontaneity, where my instinctive reaction was (and sometimes still is) to feel under pressure, as though control has been taken away. The illness saw J as a rival for my attention, and that nasty-bitch side of myself gave him some hard times. Our weekends together were always caught up in long-distance hikes, as compensation for what I saw as the laziness-crime of having slept in that morning, or stretching out to read in his back garden.

To put this into context – I was still underweight, with a disordered mindset, and no actual therapy in place. Having chosen to cut all ties with my mental health team, to go it alone in recovery, I was pinballing from one distraction to another, while maintaining a weight that felt “safe.” Our long walks required stamina – I needed to eat more, to reduce the gym exercise, so I could keep up with his strides. In winter, when poor circulation caused my blue fingertips to turn purple, then white, he would hold my hands and breathe on them to make the pain go away, while encouraging me to put on a bit more weight, so we wouldn’t have to keep making the stops.

Though we are no longer together, Jimmi is still one of my best friends, and continues to be an inspiration – which means he kicks my arse when he knows I’m dithering. Though I certainly had no intention of allowing him to become my “carer” from the outset, at times it was inevitable. There was only so much I could conceal. It is a mark of his patience – and the lasting effect of his company, on my mindset – that our relationship survived beyond the first few difficult months.
When I asked him to give his own perspective of those five years together, he responded with the style that has always been reminiscent of a leather jacket, whisky and cigars.

In similar fashion, I asked a Twitter friend, Brent Allard, to tell me of his experiences with anorexia. As is so often the case, a random fact dropped into conversation had set off ripples. I had mentioned my (past and present) experiences with anorexia nervosa, whereupon he began to tell me of a former girlfriend who also suffered from its effects. Setting out a rough guideline of questions based around personal memories of behavioural patterns, and research into the study of eating disorders, I sought to frame Brent’s unique insight in such a way that would give a broader perspective of anorexia, and its effect upon relationships.

While my mother loves me by default (if I can go on assumptions here), her caring for me in those dark days might be considered a prerequisite of our familial bond.
Where my former partner, and Brent Allard are concerned, the responsibility originated from a different point of care. I’d like to give them a voice, on this blog.

To assume that love alone has the power to cure anorexia et al, would be a gross underestimation of the influence a mental disorder can have on a person’s life. First and foremost, they must want to be well themselves – this requires finding an internal equilibrium that I cannot even begin to describe here, as much as this sounds like a cop-out. I still do not know how I survived, where others didn’t. Hitting rock-bottom in 2003, it seemed that there would be no escape, until the duty of care was taken from my mother’s hands – she had done all that she could. The physical dangers of an eating disorder are very real, while the underlying dark waters of depression can bring on a relapse, into symptoms perhaps abandoned years before, thought forgotten. It is then that the network of support found in friends, family, colleagues, lovers, teachers – the relationships that make up a life – are as necessary for recovery as psychiatric treatment. No one should feel that they are fighting alone.

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Writing Reality: Synaesthetic Scenes

02/06/2014 at 06:00 (Method Writing, Reviews, Synaesthesia, Writing, Writing Reality articles) (, , , , , , , , , , , , , , , , , , , , )


I wholly admit to being a concept reader and writer. Rather than framing my work in concrete terms, pinned to actual events and circumstances, I work best with abstract ideas. Maybe this is due to inhibitions about the quality of my work; certainly, much of my life has been governed by vagueness, with facts and figures substituted for smoke and mirrors, symbolism.

While ill with anorexia nervosa, struggling to recover, I would ask for permission to eat and to rest, and fought bitterly with my therapist when she suggested that I begin to serve myself food, and take steps towards reducing my exercise. As she put it, “No one can monitor you forever. The details are yours.”

The thought of feeling well again, of having energy, was the image I worked towards; but whenever it came to the crunch (as it were), I would buckle under the pressure of taking responsibility for my own actions. My opinions didn’t matter, much less my emotions, because I couldn’t trust them. They had landed me in hot water before, after all.

The same self-doubt appears to have filtered across my life, like ink spilled over a map. It is something I push against every day, when writing, when socializing on / offline. As much as I would like to talk about our contemporary world, and certain economical / political aspects of it, I don’t feel I could do them justice. Not yet, at least – lack of experience, and self-esteem, cause me to stumble on words that should come easily, and I throw away as many blog entries as I begin.
Maybe one day, I will find a way to meld my concerns, and this flowery prose.

*

If there’s one thing I hate when writing in free-fall, it is hitting that dead-wall of thoughts – particularly when it comes to description, for it’s here that I’m in my element. With no ready connotations or sensory imagery to hand, the words seem as stick-lines only. While there is a need for a more direct style in certain types of prose, it is not something I can easily maintain. Trying to cut out imagery would feel like cutting off a limb, and I’ve given up trying to walk in the shoes of any author I happen to admire, but could never replicate.
A voice is a voice; mine happens to channel synaesthesia, and it’s to this kind of imagery that I turn when I want to bring a character, a setting or a scene alive.

As someone with Chromesthesia, I perceive colours and shapes/patterns (the concurrent) in relation to sounds and spoken words (the inducer.) Music is a major trigger. A whole song or a single note, the words of a vocalist or the scales played on an instrument – all can spark a response in my mind that is equivalent to seeing the keys of a piano lit up in a rainbow under my fingers, the flick of a whip made of shining copper strands, or a cloud of paint sluicing across the floor.

Vision
Vision by Carol Steen; Oil on Paper

I don’t so much “see” these additional perceptions, in conjunction with sound, as acknowledge the presence of them in shapes and colours behind my eyes.

When a new voice is introduced, the sound of a song can lose its original-composition colour. For example, when listening to the lyrics of Nick Drake’s Riverman, the predominant shades are pine green and bark brown; these are the colours of an oboe, which is also the “texture” of his voice, rounded and smooth, lilting.
But channelled through the voice of a cover singer, the words may become copper, or dusky blue, particularly if the instrumentation used is also different.

An artist can have an inherent “colour” of their own, regardless of what they are singing or playing about. In this, semantics have little impact, for it is the sound of the voice / the instruments which creates the synaesthetic impression, with variations of shade depending on pitch and tone; Cat Power is smoky purple in her alto lines, but on the soprano notes of “Colours and the Kids,” her voice comes closer to lilac.

I’m as yet unsure whether these synaesthetic experiences (the concurrent)are due to the emotional reactions evoked by reading a text or listening to a sound, or if is the actual construct of the inducer which is the trigger (the individual graph/phonemes.) One theory points toward crossed-wires activity in the cerebral cortex, which is divided into lobes that govern our thought patterns/processes, and sensory reactions. This would go some way towards explaining how a mood can have a colour – which is my strongest perception of synaesthesia, leading me to wonder whether it is these causing the colour effect, and not the stimuli. But why then should I have an emotional reaction towards the number 3? It is my favourite, and also happens to “appear” to me in my favourite colour, turquoise. Again, this is not something “seen” so much as perceived. The two are intrinsically linked. Likewise, I will avoid the number 5, because it is yellow – a colour I’m not all that fond of.

When it comes to writing, there’s no greater pleasure to be had than painting with words. I mean this in the way that Nabokov saw the Russian word, “Tosca”:

Toska – noun /ˈtō-skə/ – Russian word roughly translated as sadness, melancholia, lugubriousness.
No single word in English renders all the shades of toska. At its deepest and most painful, it is a sensation of great spiritual anguish, often without any specific cause. At less morbid levels it is a dull ache of the soul, a longing with nothing to long for, a sick pining, a vague restlessness, mental throes, yearning. In particular cases it may be the desire for somebody of something specific, nostalgia, love-sickness. At the lowest level it grades into ennui, boredom.”
― Vladimir Nabokov

Such a palette of connotative imagery, attached to one small set of graphemes. I personally “see” the colours deep purple and red, as of an autumn leaf on a bonfire. There is a strong tang of bittersweet regret, like iron rust, in speaking the word aloud.

Ashridge in Autumn

Nabokov observed that synaesthetes tend not to share the same sensory perceptions, but instead have variations which are unique to them. This discovery was made through the observations of his wife and little boy, both synaesthetes themselves:

“My wife has this gift of seeing letters in color, too, but her colors are completely different. There are, perhaps, two or three letters where we coincide, but otherwise the colors are quite different.”

Still more fascinating is the apparent blending of grapheme-colours in the parental genes, to form a natural progression in the mind of the child – rather like mixing a set of oil paints:

“Then we asked him to list his colors and we discovered that in one case, one letter which he sees as purple, or perhaps mauve, is pink to me and blue to my wife. This is the letter M. So the combination of pink and blue makes lilac in his case. Which is as if genes were painting in aquarelle.”

Another author, Patricia Lynne Duffy, tells of a similar experience in her excellent book, Blue Cats and Chartreuse Kittens: How Synaesthetes colour their World:

‘My father and I…were reminiscing about the time I was a little girl, learning to write the letters of the alphabet. We remembered that, under his guidance, I’d learned to write all of the letters very quickly except for the letter ‘R’.
“Until one day,” I said to my father, “I realized that to make an ‘R’ all I had to do was first write a ‘P’ and then draw a line down from its loop. And I was so surprised that I could turn a yellow letter into an orange letter just by adding a line.”
“Yellow letter? Orange Letter?” my father said. “What do you mean?”
“Well, you know,” I said. “‘P’ is a yellow letter, but ‘R’ is an orange letter. You know – the colors of the letters.”
“The colors of the letters?” my father said.’

My own grapheme/phoneme combinations possess some spatial relativity to one another. 9, for example, is large and purple, quietly majestic with a faint sheen; 6 is little and silly, light green; 3 is turquoise, medium-sized and slender, with just the faintest sheen of silver. The name of my dear friend Nillu Steltzer, appears to me in white and red. My own name is blue and green, as most words/names with the close proximity of letter A and E, tend to be (interestingly, the co-editor of Synaesthesia Magazine, Carlotta, has a dark blue name; but her Twitter handle, @1chae, is canary-yellow and teal.)

These sensory crossovers have crept into our everyday lexicon. There is the “black funk”, the “itchy mood”, the “cold white light of the moon.” Using these concrete nouns to describe an emotional response to a situation, we can cross the borders into the abstract world, where a mood can have a colour or a texture; and back again, into a sensory-overlap, where a name we see becomes something we can taste, of it is described thus. The text gains what can *almost* be experienced as something tangible.
This is just one way of shaking up the descriptive writing process, giving an audience more variety.

A setting that resembles an empty room can be brought to life by the juxtaposition of what a character knows on a conscious-sensory level v.s. what they perceive on a subconscious-synaesthetic level. If the narrative perspective is channelled through one or more characters, whether in first person voice or over the shoulder, an author can choose to employ variations of sense-imagery based upon life experiences / circumstances. For example, a man who has been down on his luck may perceive the world in shades of rot, decay and rust; he may draw the audience’s attention to the rust on his car – its tangy smell, the rough texture to touch, the strange whorl-patterns to look at – in comparison to the sun sparkling on the polish of his neighbour’s vehicle.

Provided there is enough sensory stimulus and crossover, the relevant connotations and memory-triggers can evoke a “mood” in the audience, which is close to experiencing synaesthesia. In the same way, a film director will employ mise-en-scène – props, costumes, alterations in the colour / shade of lighting – and diegetic / non-diegetic sound, to influence the perceptions of mood from one scene to another.

synaesthesia therapy
Image courtesy of www.kingsroadrocks.com/

Time can be made apparent in terms of light and dark, with the sun shifting over the far wall in an office throughout a long shift, as well as the systematic ticking of a clock, the precision of numbers (senses Sight and Sound.) A shift in the air – the clatter of pigeons and the whirl of their feathers – can summarize a mood of fidgety discontent (senses Sound and Sight.)

Animal Genius: Pegions

A building may take on a mood, or experience an oscillation of these, depending on the perceptions of the workers within – or perhaps the mood may be unique to the structure itself, as of a sentient being. Your everyday environment can become a living organism, should you choose to open all your senses to it.

At work, I cross all floors of the building at some point during the day. The past 3.5 years have imprinted enough sensory triggers to make a library’s worth of stimuli, ready for recall if I need to describe a setting. The building has the creaking personality and elegance of an aged dancer; she is made up of frayed carpets, panes that crackle and flake plaster like skin, and windows that weep rain. Her coffee rings and energy drink towers, are testament to the state of the shifting moods of colleagues. Standing in an empty stairwell, I have only to listen to gauge the mood of a day (which may remain unchanged for a shift, or change sharply at the turn of events.) There are always little clues to look out for, and it is these shifts in atmosphere – from the normal to the charged, to the downright crucial, that you should make yourself aware of, in your own environments.

Dana Vachon’s “Mergers and Acquisitions” is essentially a book about investment banking; but it is the vibrant descriptions of the characters and settings, and the treacle-darkness of comedy and pathos, which drive the narrative. An average office space is framed thus:

“I settled into the eight-by-eight cubicle whose carpet had once been gray, but over the years had been Jackson Pollocked with tumbling chunks of sesame chicken and spilled splashes of Starbucks lattes.”

Vachon worked as an investment banker, and had apparently stored a vast sum of memories to use as stimuli for later recall, when writing of his experiences on Wall Street. The semi-autobiographical protagonist, Tommy, is not one for emoting with direct words; his narrative is rich with sensory perceptions, which do the job for him.

“She was lying on one of the old, overstuffed sofas, her hair wrapped up in a lumpy, unwashed bun. She wore the same red kimono that she had surprised me with weeks before, but it too seemed different, and as I looked closer I saw that among its bright silken peacocks and dragons were burns from fallen cigarettes and stains from splashed sips of wine….I looked at the frogs and noted that the air in the apartment was nursing-home stale and that the windows had all been closed.”

If your immediate environment is lacking the sparks necessary for a scene, take yourself to an unfamiliar setting. My personal jolt-from-comfort-zone is to wander through the noise and bustle of our local farmers’ market. It’s unnerving – there are a great many people around, with voices thrown like knives – but it’s a feast for the senses, with everything from basic reactions (touch = soft suede, sound = chattering coins, smell = fresh fruit), to more extensive imagery (plums that resemble bullets; a rainbow swathe of macs.)

Make a point of listening to what is expressed through surroundings as well as speech – those pigeons circling overhead, what has disturbed them? Is it relative to the time of day, or to a red kite angling nearby? Can this be used as an image of approaching danger? The slate-coloured nimbus that has gathered on the horizon of an otherwise blue-sky day: how might this shift in the weather be used to convey a change of mood of a scene, from peaceful and scenic to unpredictable and troublesome? Will the characters notice and draw attention to it themselves – as with first person POV – or will the audience be aware of the tonal shift before them, as a form of dramatic irony in third person POV?

In her novel, The Story Sisters, Alice Hoffman’s teen protagonists have a unique form of image-notation – by jotting down a single, significant word that is relative to a time and place, they are able to recall the sensory aspects of it, and the subsequent mood that was felt:

“Meg and Claire looked at each other. They could hear the clock over the stove, ticking. They could hear doves in the courtyard. They wanted this moment to last forever. The sunlight was orange. They had to remember that. Meg would make certain they did. She fetched a piece of paper and wrote down the word orange, then folded the paper in half. They could cut up pears and write down all of the colours of the light and listen to people laugh and smell the blooms on the chestnut tree and forget about the rest of the world…they would have this memory of sitting in the kitchen, being happy.” – pg 133, The Story Sisters

Try this in your everyday experiences – particularly when time isn’t on your side – using a word/phrase/idiom to sum up the moment. I use “lamplight haven” and “orange-black” to help recall the sensory aspects of a night-walk; the stirring wind, leaves rattling along the pavement like fallen bones; steps taken a little more quickly than usual, and that odd halo of claws which tree branches make around a lamp. When writing such an experience into a scene, and stuck indoors on a blistering hot day, such sensory recall is priceless.

The trick is knowing when to jot something down on the spot, to record it before the moment is lost. This does involve a fair bit of diving into stairwells and ducking into alleyways. An audio recording / dictaphone app on your phone, is a good way of catching those emotional inflections which snagged you up – how it all made you feel at the time – to be channelled later when writing. Similarly, a photograph taken in-the-moment can help to trace back to the particular image of stillness in an afternoon, when the sky seemed made of lemon juice and fleece, the rain was silver, and the air was purple with the smell of buddleia.

Lewes

With regards to how light shifts across the walls of a room, perhaps mark its passage in terms of what a character pays attention to, in relation to emotions – do they notice the ruddy tinge of the sun while waiting for an agonizing shift to end? If they are waiting in expectation of a loved one’s arrival, is the light more notable than the creeping shadows; or if the visitor are late, do the corners of the room waver in uncertainty? Does the smell of wildflowers through the open window, unnerve them in the sense that the loved one may have chosen “freedom”, and changed their mind?

The progression of time can also be marked as a seasonal narrative – how does this affect your characters? Do they notice when the sun sets further along the western skyline, disappearing behind a different building each night? When the light shifts from spring’s green-gold haze, to the stark gold bars of summer, and thus into the pastels and burnt palette of autumn and the silver-black starkness of winter, does the continuum leave them melancholic, or edgy with the anticipation of change? In this way, the combination of sensory-stimuli and connotative imagery can evoke an emotional response in the audience. Their memories may be triggered; their thinking may turn to aspects of their own lives, emphasizing relativity, by a description framed in synaesthetic imagery, as with Baudelaire’s “Correspondences“:

“There are perfumes fresh like the skin of infants
Sweet like oboes, green like prairies,
—And others corrupted, rich and triumphant.”

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Melancholy

11/11/2013 at 21:11 (Personal) (, , , , , , , , , , )


Just stick it there on a page, watch it grow roots to swamp the paper and the book, the shelf and the room. Left to its own devices, it can eat you alive with a beautiful detachment.

Melancholy does not have a price-tag, nor does it come with a prescribed negativity. It’s rather misrepresented, like the Mort card of the Tarot, or the Devil – these are seen as the “blights”, the dark cards to draw, with their connotations of the beyond and the unknown. It’s the Tower you’ve got to watch out for. The Chaos card. Therein lies the real unknown, because it deals with changing situations and circumstances – the universe with its boot up your arse, kicking you out the window, falling to the ground. This can be a token of goodwill on Fate’s part, if you believe in that stuff – a caution to those procrastinators who believe all is well, in stasis. But that upheaval, the rending of roots, can be the loss of everything you stood (and stand still) for. The cutting of your rose garden.

Mine are only ever the blue.

Melancholy, as I experience it, comes with the heads of ripe wheat and old brass sunlight; the flecks in a jaded blue eye. It comes in the sweetly curved smile of birdsong, in the latest and earliest hours of day, when the air’s no longer a freshness of green – it’s the parched throat of a papyrus scroll.

Yellow grass crackles underfoot; baked clay is split right through, so it seems you might look into the heart of the world and find it darker than you supposed. An old, hot wind draws those birds onto the wire, whispering that it’s about time they lost those few pounds of flesh and made ready for the long haul flight.
No extra luggage, please, we’re going away.

But you can’t come with us. This is for your own good, for you to stay, while others leave.

There are the drifting, dancing fairy-puffs known as Rosebay Willowherb; the bristling green shells we knew as Bombyknockers. when we were kids. Here and gone, and it’s sparks on the wind now – a fractious thing, full of rain, soon to be snow.

Melancholy, your true name is Autumn, and I forgive you for coming around so soon. This year has been hard where the last was bland, and the one before exceptional. I craved change and oh, petty fool, I got it. There was no reprisal, I never got the chance to better explain myself to him. Still. That was then; this is now.

Somehow, I think the bird on the wire has more chance.

I relish this time of year, for its sweetness as bitter as almond paste. The glowing colours die in the heart of the morning, when mist is a silverspun wreath, framing your lashes and hair. Each silver droplet is a second on my clock. Soon there will be the breakdown, the conflict of seasons, as the air draws out its last strangled hot breath, to die in an icy whisper.

They pop in the heat like cereal in milk

lavender trees

Withnail and I

When nothing else will do, there’s always Shakespeare

winter sky

My favourite time.

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Opium

23/10/2013 at 12:31 (Personal, Writing) (, , , , , , , )


A blog entry that hit me hard in the heart, as all the best ones do. My affair with Pathos goes back a long way, to a daydream-childhood filled with crushes, into adulthood wherein my frustrated mother forever rags on about me finding The One.
What if I want fantasy? What if I prefer heartache; the fever of anticipation, as opposed to the darkness of reality, dreams met and turned sour?
And then again…frustration often has teeth.
This entry summed it up far better than I could.

Gunmetal Geisha

Heart

The pitter-patter of a pubescent in a grown-up heart is magic.  Give me unrequited love over requited apathy any day.

                                                                                                                                               
≈ Her Point of View ≈

I once had a little burgundy room, with deep red hand-woven rugs, silk purple cushions and Moroccan tables. I called it the Opium Room. In it, my writing desk sat between two windows that overlooked a heart-tugging Tuscan setting — in the Hollywood Hills.

A day came when rain poured violently, draining…

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The Colour of Loss

21/10/2013 at 12:51 (Personal, Synaesthesia) (, , , , )


As someone with sound-colour synaesthesia, I’ve often wondered if moods can be similarly affected by sensory-crossover. This entry more than answered my question. A beautiful depiction of mood-synaesthesia.

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