Right
now I have a zit the size of a skittle ripening beneath the skin on my chin.
I have tried with all the squeezy-power my wee fingers possess to
"invite" this evil pod to the world of my bathroom, and it absolutely
refuses. I am beginning to wonder
if I have in fact conceived a child in my chin. It really is huge.
If it continues to multiply and fortify I might have to use more drastic
measures such as a fishing hook or pliers. Hopefully the bit of Retin-A
my friend just gave me will work wonders and shrink the little bastard down
into the depths from which he came. To get even he will probably be
creepy and pop up on my stomach or eyeball.
Friends
are so wonderful. Not just because they give you timely dollops of
Retin-A for your freak chin pregnancy, but because they are what make life
grand. Grand like a delicious candy bar. I recently read that Emily
Dickinson once said, "...my friends are my estate." This is
either a really beautiful statement or she had lots of financial problems and had
to live off her friends her whole life, but I am going to interpret it based on
the first possibility.
Imagine
a huge, beautiful house with a kitchen and bank account to match - and no
friends. Just a lot of cows and
chickens and strange neighbors who hated you for no reason and glared at you
and called the cops whenever you didn’t take in your recycling on the same day
it got picked up. The image loses its luster immediately. My life
is not only enhanced by my friendships but it is changed and illuminated –
relationships make life make sense.
My friend Steven has amazing games he always brings to the table. Today,
for instance, the question was posed, "If there was a gun to your head and
you had to either give up all coffee or all beer for the rest of your life,
which would it be?" I chose coffee. My husband chose beer.
Karen said she'd probably deliberate until they pulled the trigger
because she would simply be unable to choose. I love friends.
Ever
noticed how stories get told differently every time they are told? Sometimes
these differences exist due to tendencies to exaggerate (ahem) or impress or
protect. Sometimes we’re just sick
of a story so we tell a condensed version. Sometimes we tell it to piss off our in-laws. But the weird thing is – our stories
actually change
as our storytelling changes. I've
been thinking of this almost constantly for the past 24 hours.
Last
night, sitting in a sushi restaurant after several hits of sake with my husband
and our precious friends, we started telling stories. As I listened to
the love story my friends were telling about the beginning of their
relationship, my eyes filled with tears. Part of the loveliness of the
story they told was of course the story itself, but only a very small part.
The loveliness came from the more recent stories I know about them; the
conversations we've had; the thousands of moments where I have grown to love
them. The real loveliness in the story they told wasn't the story - it
was the love in their faces as they told the story. With kindness and
compassion they threw a thick, warm blanket over their young, past selves. There
was no less darkness in their story than any other story about love between two
people, but it wasn't the darkness that illuminated as they spoke - it was the
sweet, gentle fierceness of their storytelling.
I so
often fear that in order to be solid, happy and differentiated I need to get a
new story. Of course I don't imagine I can ever REALLY get a new one
(witness protection program anyone?) - I'm not quite that delusional. But I do
tend to feel trapped by my story, scared that the wall and details of who I
have been and how I have loved will grow rigid around me until I have to either
shrivel up and die or bust out completely.
I
forget that I can keep telling it. I can have friends in my life who ask
- again and again - even if they already "know" the story - to tell
them again. There is a reason children curl up in the laps of their parents and
say "tell the story again..." I forget that I can cover my past
(and present) self with a thick, warm blanket of compassion. I forget
that part of living life is living the same moments again and again and again.
I hate this repetition so easily. It scares the shit out of me
because I forget that I'm not stuck in a maze - the song is not skipping; I'm
on new ground, and though the tune is the same (it always is), it's a new song
- listen closely and the words are different.
I
forget too that I can keep offering blankets to those around me... to the
people and the stories that feel too exposing, too scary, too ugly, too stupid,
too cruel or too embarrassing to tell over delicious warm sake with kindness,
compassion and good friends.
"Built
in the thirteenth century, the belfry had been constructed like a coil or a
screw. It had one of those unexpected, helicoidal shapes - the surface like a
helix - so that as it curved up it reflected every compass point of the
landscape. We circled the church in the dark. Who had conceived and constructed
this? Branka said that early historians claimed its builders were inspired by
the form of a snail shell. Other explanations were that acarpenters had used
wood that was too fresh, so it ultimately warped, or that a very strong wind
had created the torsion. My friend disregarded these theories of fresh wood or
strong winds. The belfry was for her an example of visionary craftsmanship...
All my
life I have loved travelling at night, with a companion, each of us discussing
and sharing the known and familiar behaviour of the other. It's like a
villanelle, this inclination of going back to events in our past, the way the
villanelle's form refuses to move forward in linear development, circling
instead at those familiar moments of emotion. Only the rereading counts,
Nabokov said. So the strange form of that belfry, turning onto itself again and
again, felt familiar to me. For we live with those retrievals from childhood
that coalesce and echo throughout our lives, the way shattered pieces of glass
in a kaleidoscope reappear in new forms and are songlike in their refrains and
rhymes, making up a single monologue. We live permanently in the recurrence of
our own stories, whatever story we tell."
(Excerpt
from pp.135-136 of Divisadero by Michael Ondaatje)
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