This House

At the start of the Zeffirelli film of La Traviata, the overture plays lushly on the soundtrack, while Violetta drifts through deserted rooms like Miss Havisham. At least she does in my head – I haven’t watched the film for over thirty years. She is waiting for her lover, and she is waiting for her death: this being full blown Romantic opera, both come, the second hard on the heels of the first, just allowing for some impassioned heart-rending, full-lung-capacity singing to stretch – nay blow apart any pretence at – verisimilitude.

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Lachrymosa

Presently, my days are filled with tears.  As children, we cry easily.  Perhaps, as Shakespeare says, ‘we cry that we are come to this great stage of fools’.  Babies cry from frustration, from pain, from fear, and this is largely a vocal activity – it is crying more than weeping.  Somewhere in Gareth Malone’s book Music for the People I think he says that a baby’s cry is, as it were, designed to be intolerable.  It’s pitched in a way to pierce through all other noises, it demands attention.  It summons succour.

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It goes without saying

I often feel that I talk too much and, indeed, I often do.  Some of this is innate, I think:  I have such an urge to try to express things, I gain such relief and pleasure in my quest to find words which communicate, and all I have to work with most of the time are my own feelings and experience.  But some of my verbosity is, I am understanding, a compensation.  It has been not so much a filling in of silences as a modelling, trying to show by example that it can be done: words can be found. Imperfect, unstable words – as Eliot (of course) puts it with ironic, oxymoronic fluency:

Words strain

Crack and sometimes break, under the burden,

Under the tension, slip, slide, perish,

Decay with imprecision, will not stay in place,

Will not stay still.

TS Eliot Four Quarters – Burnt Norton
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Like Breathing Out and Breathing In

I have been present at first breaths, and last breaths.  Only at those most intimately connected with me: my children’s births and my mother’s death. And since, in female babies, the eggs of their potential children already nestle in their ovaries, these births and death are profoundly shared: others’, yet also my own.  Interlinked, interwoven. 

Once we start breathing on our own, which we do before the cord is severed (and it is ever really severed, asks every mother?), that’s all we do, one breath after another.  Keep going:  breathing and sighing and laughing and coughing and panting and sobbing and gasping and… breathing until we stop again.   The rest, as Shakespeare says, is silence.

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The Habit of Love

Good Morrow, friends. St Valentine’s is past

A Midsummer Night’s Dream, Act IV Scene i

What is love?  This huge essential word.  It motivates us so strongly, and at the same time it is ubiquitous and clichéd.  Patently, it ranges from something quintessential within our psychological core, to the softest, most whimsical, peripheral frond and feather of feeling.

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It is time to speak of Julia

I am re-reading Brideshead Revisited by Evelyn Waugh. It’s a striking, indulgent, flawed novel, I think. Not entirely successful, but somehow it communicates a – to me, irresistible – sense of beauty, loss and yearning which repeatedly draws me back. Given my age, I cannot read the narrative without hearing Jeremy Irons’ melancholy tones, or see in my mind’s eye anyone but the young, impossibly golden Anthony Andrews as Sebastian. The luscious TV adaptation was on screen just as I was applying to Oxbridge, so the book evokes a complementary nostalgia in me for my own past: youth, hopes, idealism and magical moments when I was at College, timeless and elevated far from my upbringing. Et in Arcadia Ego.

The sentence, ‘It is time to speak of Julia’ (Brideshead Revisited Part II – Brideshead Deserted Chapter 2) has long stayed in my mind because it chimes with my enduring, college-born, obsession with names and the function of naming as an entry point to how we use language.

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The Mad Woman in the Attic

Sometimes I dream of being in a familiar house, opening a door and finding a forgotten room. This is a common dream theme, a recurrent trope. The discovery brings with it with a strange small mis-step lurch of emotion: how can I have overlooked this so completely? To mis-apply Eliot, we ‘know and do not know’ the space: it is both a new, fresh opportunity and also restoration of something long lost. It’s slightly magical. Eliot again:

Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened

TS Eliot Burn Norton

In the dream, as in the poem, this time we follow the path, we open the door or, in my case, we climb the staircase.

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Portway

At the top of our road is a thoroughfare named Portway. It heads roughly east to west, with houses and side roads along its southern edge and West Ham Park bordering to the north. This park was originally part of the Upton Park/Ham House estate, where, in the 18th century, Dr John Fothergill created a botanical garden ‘second only to Kew’. Alongside the wide green open spaces, the football pitches and sports areas and playgrounds, all essential parts of a living, vital community resource and sanctuary – in other words, of an urban park – there is an ornamental garden, where remain traces of the design and layout of Dr Fothergill’s garden, with trees planted by him. The ornamental garden is, to me, the heart of this haven in east London.

The gate we use to go into the park – the one nearest to our house, also closest to the ornamental gardens – is designated Portway Gate.

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Sunday

Stephen Sondheim died on Friday November 26th. ‘91 year old man dies peacefully in his sleep’ is not unexpected news. But the impact was great, and in a small way I shared it. Others will be able to articulate the richness, the complexity and masterfulness of Sondheim better than I can. I think comparisons with Shakespeare are both inevitable and appropriate. And this from me who, generally, doesn’t really like musicals.

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Staying, still

Sometimes we know when we are about to create significant memories:  a marriage vow, a graduation, a last visit to the vets.  But other times they creep up on us and only that wise counsellor, hindsight, recognises significance.  So with us, walking along the South Bank, for a purpose I cannot remember, maybe 15 years ago, when I said ‘I wouldn’t like to live in London with a young family but perhaps, when the children have left home, a little flat near the centre might be fun’. 

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