Tag Archives: happiness or something like it

Bullying Part III (or, all hail Margaret Atwood)

10 Oct

This will be the final instalment of my totally unplanned Bullying Trilogy (seriously, it started out with me just wanting to talk about clothes).

After I made my last post talking about how I was bullied in my teens, my friend Audra asked if I’d read this 2011 article from New York Times, Bullying As True Drama. In fact, I had read it when it first came out and hadn’t really given it much thought. Re-reading it, though, I found myself nodding and muttering, yes, yes, yes under my breath.

So much of this article hits home for me. This part, for instance:

“Many teenagers who are bullied can’t emotionally afford to identify as victims, and young people who bully others rarely see themselves as perpetrators. For a teenager to recognize herself or himself in the adult language of bullying carries social and psychological costs. It requires acknowledging oneself as either powerless or abusive.”

Or this:

“While teenagers denounced bullying, they — especially girls — would describe a host of interpersonal conflicts playing out in their lives as “drama.”

At first, we thought drama was simply an umbrella term, referring to varying forms of bullying, joking around, minor skirmishes between friends, breakups and makeups, and gossip. We thought teenagers viewed bullying as a form of drama. But we realized the two are quite distinct. Drama was not a show for us, but rather a protective mechanism for them.”

And especially this:

“Teenagers want to see themselves as in control of their own lives; their reputations are important. Admitting that they’re being bullied, or worse, that they are bullies, slots them into a narrative that’s disempowering and makes them feel weak and childish.”

Like I said in my last post, bullies can smell a victim. The minute that you admit to yourself or to others that you’re being victimized, then I guarantee you that, barring serious intervention, the bullying will get worse. To make matters even more difficult, many kids (and adults) don’t realize that they’re bullies; this behaviour is so ingrained in our culture that it seems downright normal. I’m certain that most of the kids inflicting “drama” on others have, at some point, been on the receiving end of “drama”. To them, it’s an unpleasant but ultimately unavoidable part of life.

We also need to realize that the ways in which bullying happens have changed; it often occurs online, or through texting; it’s not always public. This, then, is where I think David Dickson, chairman of the Bullying Prevention Initiative of California, really misses the mark with definition of bullying as happening, “typically in a social setting in front of other people“. That definition certainly doesn’t hold true today; in fact, I’m not sure that it’s ever been accurate.

One of the best literary instances of bullying that I can think of is the torment that Elaine Risley goes through at the hands of her so-called “best friends” in Margaret Atwood’s Cat’s Eye. Though all three of her friends are party to the bullying, few outside of that group know what’s happening. In fact, Elaine is pretty clear about the fact, were she to tell anyone about being bullied, she would feel as though she were breaking some kind of sacred code:

“Whatever is going on is going on in secret, among the four of us only. Secrecy is important… to violate it would be the greatest, the irreparable sin.”

A few adults in Elaine’s life seem to have some inclination as to what’s going on; she hears the mother of one of her friends saying that she deserves to be bullied because she’s a “heathen”, and, several years after the bullying occurs, Elaine’s mother makes a vague reference to the girls giving Elaine a “bad time”. Those instances aside, none of the grown-ups seem to know or understand the severity of what’s happening. The three girls are at Elaine’s school, and one of them is even in her class, but none of the teachers seem to notice that anything is amiss with their relationship; even her peers see only a group of “best friends” and nothing more.

Based on all the above, I wouldn’t say that Elaine’s bullying is public; in fact, her tormentors are very careful to maintain the façade of friendship that they’ve built up. Does that mean that it’s not bullying?  Elaine is certainly emotionally, mentally and physically scarred by what she’s going through; not only are her self-confidence and happiness eroded to the point of non-existence, she also begins experiencing symptoms of severe anxiety such as fevers, stomach aches and tendencies of self-harm (among other things, she begins biting her fingers, and pulling patches of skin off her lips and the soles of her feet).

Another important thing to note is that, much like the girls mentioned in the Times article, neither Elaine, her friends, nor the adults in her life ever use the term bullying. Instead, they use euphemisms like giving her a hard time. At one point Elaine’s mother even tells her not to let the other girls push her around, and not to be spineless, as if that’s any kind of helpful advice. So the message that Elaine receives both from her “friends” and the adults in her life is that the way she’s being treated is her own fault.

This, then, helps explain why, when the balance of power shifts between Elaine and her “friend” Cordelia,  Elaine begins to bully her back. While Cordelia spent most of grade school bullying Elaine, Elaine turns around and spends much of high school treating Cordelia equally terribly. In her mind, though, she’s not a bully; she can’t be, because, in Elaine’s eyes and the eyes of the world, her “friends” from elementary school weren’t bullies either.

At one point, when things are at their worst, Elaine’s mother says to her,

“I wish I knew what to do.”

And that, that right there, is often the hardest pill for both adults and teenagers to swallow – the fact that when bullying or “drama” occurs, the adults involved often just don’t know what to do.

I’m going to go out on a limb here and guess that part of the reason teens started using the term “drama” to sort of re-brand bullying was the realization that, possibly for the first time in their lives, the adults around them had no clue how to stop them from hurting. So the term “drama” isn’t just a protective mechanism for the kids themselves; it’s also their way of protecting their parents and teachers, a way of reassuring them that it’s okay that they have no idea how to help because it’s nothing, just drama, and their help isn’t needed.

Matt and I were both bullied when we were younger, and because of that we’ve talked extensively about what we would do if Theo was ever bullied. I would like to say that we’ve come up with an awesome plan but, really, we haven’t. If things were ever to get really bad and Theo were to express a desire to change schools, Matt would prefer to go ahead and do that, whereas I would rather that he learn to work things through with his peers rather than running away. Of course, Matt doesn’t know what he would do if things were equally bad at Theo’s new school, and I have no idea how Theo is supposed to learn to rationally work things through with a bunch of hormonally-crazed teenagers.

I think, though, that at the end of the day that Times article has it right; instead of focussing on the “negative framing” of bullying, we need to work towards teaching our kids what healthy peer relationships look like and how to be good digital citizens. We need to teach our kids empathy and the ability to recognize when “drama” has gone too far. We need to find ways to empower our kids instead of making them feel weak or victimized.

I know, I know, this is a lot of talk without a lot of substance to back it up, but hey – I’ve hopefully got a few more years to figure it out. And while I’m teaching Theo how to be a smart, confident, independent person, I’ve got him to teach me how to be a thoughtful, wise and effective parent. So far, I think we’re both doing a pretty okay job.

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Bullying (or, nolite te bastardes etc.)

7 Oct

I’ve written on here about some of the less-than fun stuff I went through as a teenager, but I think that last night was the first time that I’ve ever publicly referred to it as bullying. And now I kind of want to talk about it?

A little bit of background:

I’d had the same group of friends throughout most of elementary school. The five of us had been pretty tight, spending every recess and lunch hour together, pairing up for science projects and book reports. On the weekends we would force our parents to shuttle us around the city for various playdates and sleepovers.  I’d known them for so long that I couldn’t imagine ever not being friends with them.

Then, one mid-day recess in seventh grade, my friends told me they had to talk to me.

We sat in a circle on the schoolyard pavement, near the edge of where the grassy field began. It must have been October or November, because I remember that the sky was grey and there was a chill in the air. My friends started out by saying that they’d been talking about me, and had realized that they collectively found me annoying. They told me that they’d come to the decision that they didn’t want to hang around with me anymore, and asked me to stop joining them at lunch and recess. I tried to argue with them, then tried to bargain, but it was pointless; their collective mind was made up.

Basically, they broke up with me.

What had already been a difficult year went from tough-but-manageable to downright miserable. Even before I was de-friended, I was already being picked on by my classmates for my bad skin, the way I dressed, and the nerdy things I liked. Now, not only was that all still happening, but I suddenly had no one to protect me, and no one to tell me that I wasn’t an ugly pathetic loser.

As the year went on, the kids who made fun of me became braver, making more and more publicly humiliating comments about me. One kid said that I didn’t need to use whiteout, because I could just use the pus from my pimples – the teacher laughed at that along with everyone else. Another kid wondered aloud why my clothes were so terrible, since my father was a lawyer and could almost certainly afford something better than ill-fitting sweatshirts and track pants. Boys from my class prank-called me in the evenings, pretending to ask me out – then repeating everything I’d said on the phone the next day to the rest of my class.

I didn’t tell my parents what was happening because I was embarrassed, although they must have noticed that I wasn’t being invited to my friends’ houses anymore. I didn’t want them to know how much of an outcast I’d become at school, because it seemed like it was mostly my own fault for being unlikeable. Anyway, I reasoned, even if they did know, what could they do?

When I started high school, I chose a school that almost none of my classmates were going to. The only person from my class who was coming with me was the girl I’d become close with in 8th grade, so that was fine. I figured that this was the perfect chance to start over. No one at this huge new school knew me, or knew my past; I would walk through those front doors in September as whoever I wanted to be.

I didn’t get to start over, though. Does anyone ever really get a fresh start? I still had all the problems that had led to being teased in the first place: bad skin, the wrong clothes, and geeky interests. Even worse, the last two years had left me with zero self-confidence, which meant that I was constantly second-guessing myself. Because of this I had a hard time making friends, and when I did I was clingy and jealous. I was even more of a mess when it came to boys. Boy, was I ever.

Bullies can smell a victim, and I was soon back to being the butt of the joke. I went to an arts high school where I majored in dance, and the girls in my dance class were saccharine sweet to my face (most of the time), but made fun of me as soon as my back was turned. By the end of the year I was so tired of it that I transferred out of dance class and instead majored in visual art, where I was surrounded by pretentious art school kids, stoners and comic book nerds – on the whole, a much nicer group.

I don’t mean to make it sound like I was totally friendless. I mean, yeah, I had people that I hung out with – a pretty big group of friends, actually. But even within that group I was teased. Early high school was pretty much just as shitty as late grade school.

My later high school years were better, and the same goes for university. I moved out east for school, made some great friends, and became the stunningly self-confident adult you see before you today. Things are mostly totally fine now. I am mostly fine now.

What’s strange is that now I’m friends on Facebook with a lot of the people who made me miserable (maybe some of you are reading this now – hi guys! kind of awkward! sorry!). We’ve never talked about or even acknowledged what happened; after half a lifetime of not knowing these people, we mostly just “like” each others’ statuses and comment on photos of each others’ kids. Initially, I felt awkward having them back in my life, mostly because I worried that they were still judging me and still finding me wanting, but now we’ve settled into a sort of comfortable camaraderie, reminiscing about our collective school days as if we’ve been friends all along.

Maybe they’ve forgotten what happened, or maybe it just never seemed like a big deal. Maybe they feel bad.  Maybe I’m the one with the problem. Maybe they were right, and I am a pathetic loser. Maybe they were dealing with their own stuff at the time and didn’t realize how much it sucked for me. Most likely it’s a combination of most of the above.

I find that when I talk about what happened, I use a lot of euphemisms; I’ll say that I went through a tough time when I was younger, or else that I had a bad year the year I turned 12, or any other number of variations on the same thing. I’ve been hesitant to use the word “bullying” when talking about my own circumstances, for a couple of reasons:

1. Was I even bullied? I mean, yes, I was teased, but does that count as bullying? When does it cross the line from normal kid behaviour to bullying? Or is bullying so pervasive in our culture that it now seems normal?

2. Weirdly, I feel anxious about what the people who are my friends now will think of the fact that I was such a loser. There’s a part of me that thinks that they’ll start to reconsider our friendship, start to notice all of the less-than-stellar components of my personality.

3. Saying that I was bullied is admitting that I also became a bully later in high school. I made fun of people, talked behind their backs, told secrets. I was even party to making a girl cry in 11th grade chemistry class. I was mean, and I liked being mean.

I do think that it’s important to start a dialogue about this, especially in reference to the first point. In the wake of Jennifer Livingston’s on-air response to an email criticizing her weight, in which she refers to the man who sent her the email as a bully, there has been a lot of discussion about what qualifies as bullying, and whether or not it was the appropriate word to use in that instance. David Dickson, chairman of the Bullying Prevention Initiative of California, says, “Bullying, normally, is what someone, in a very mean spirited way, continually and on a repeated basis, does to another person, typically in a social setting in front of other people…It was a stupid letter he wrote, but he commented privately.” 

Now, I’m not an expert on bullying, and none of the definitions that I’ve found online have really been satisfactory, but it seems wrong to ignore this entire discussion just because what happened doesn’t fit Dickson’s fairly narrow definition of what bullying is. Whether or not the letter sent to Livingston was public, it was certainly hurtful and unnecessary, especially considering that she’s likely spent a lifetime of facing comments like that. Also, it sucks to have a so-called bullying expert be so condescending and dismissive, especially when bullying in our culture is so often dismissed as kids just being kids (or, in this case, fat ladies just being too sensitive).

Maybe Dickson wouldn’t consider what I went through to be bullying. I mean, sure, it was public, and it was often mean-spirited, but maybe it wasn’t very mean-spirited, or maybe it wasn’t repeated or continual enough. Maybe it was just teenagers being dicks to each other, and I’m just an oversensitive lady-type. Usually writing things out here makes them clearer (and hey, it’s cheaper than therapy), but this time it just makes them seem murkier and more confused. Was I the one with the problem? Were they the ones with the problem? Was I undeserving of friends? Am I still?

What I do know is this: I’m tired of pretending that nothing happened, and I’m tired of feeling like I did something wrong and have something to hide. I’m tired of waiting for all of my friends to discover that once-upon-a-time I wasn’t cool, and then to high-tail it out of my life – so take that, brain, a pre-emptive admission of uncoolness. Most of all, I wouldn’t want any other kid to feel as shitty as I did.

So yeah. Can we talk about this?

Me at age thirteen, centre, with my cousins and sister.

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On Bullying And Being A Clothes Horse

6 Oct

I like clothing. I like it a bunch, and not just because it gives me the ability to not be naked. If avoiding nudity was my only concern, I probably wouldn’t have as many clothes as I do.

For those of you who don’t know me very well, let me be really super clear on something here: I own a lot of clothes. A lot.

I used to not care so much about what I wore; I mean, sure, I liked getting dressed up, but if someone gave me money, I spent it all on books (or sometimes books and candy). Gifts of clothing at Christmas or my birthday were considered boring, and beneath my interest; they were quickly set aside in favour of more interesting packages. When my mother gave me money to go back-to-school shopping, I would spend as little of it as I could on a few shirts and a pair of jeans at Walmart, then save the rest for the more interesting stores.

Then puberty hit, and people started making fun of the way I dressed. Why? Because teenagers, that’s why.

Not only was I lacking in fashion sense, but I was also widely considered to be quite ugly. A classmate of mine took a sort of informal poll on the relative attractiveness of the girls in our class, and I rated lowest. Out of 28 classmates, only one (a girl named Cindy who was well-known to be the nicest person ever) had said that I was “sort of pretty”; everyone else, even (especially?) the boys had marked down “ugly” next to my name.

I tried to laugh it off, but underneath I was heartbroken.

I went home, cried, sassed my parents, ate some ice cream, cuddled my cat, scrawled in my diary, etc.

Then I decided that this was, in part, a solvable problem.

I couldn’t change my facial features or the basic structure of my body, of course, but what I could do was learn how to apply makeup and wear the correct clothes. In order to do this, I would have to figure out what the right ways to do these things was, because I honestly had no idea. I began to observe my classmates as if I were a cultural anthropologist; I made notes on what they wore, how they did their hair, and what shade of lipstick they applied. I bought fashion magazines and pored over their pages, cutting out pictures of the outfits I liked. We didn’t have a lot of money, so I started spending time at Value Village, Goodwill and the Salvation Army, digging through the racks for things that might look good, or fit me well.

I began replacing my wardrobe of printed pastel sweatshirts, track pants, babyish puffed-sleeve dresses and unflattering stovepipe jeans with slightly more grown-up attire. Back then, I wasn’t necessarily trying to be fashionable, or even dress particularly well; I just wanted to fit in and be able to disappear into the crowd. I gravitated towards basics like plain t-shirts and tank tops paired with jeans, khakis or a simple skirt. All I wanted was to be normal, because I thought normal meant that I wouldn’t be bullied anymore. I wanted to use clothing as a sort of protective armour, one that would make me look like an average high school student instead of someone with a target on their back.

By the beginning of university, I’d begun to wear things like vintage slips and old, beat-up leather jackets. I tied my hair back with old kerchiefs I’d bought for cheap in Kensington Market. My grandmother gave me an old coat of hers from the 60s, and I wore the shit out of it. I was starting to look kind of good.

While in Halifax, I was lucky enough to have two roommates who a) were approximately the same size as me, and b) had awesome, badass fashion sense. We instituted an open-closet policy, and having access to a sort of communal wardrobe gave me the chance to experiment with different looks without having to commit to them. I stopped wanting to look normal, and started wanting to look interesting. I learned to accessorize. I started putting outfits together in unconventional ways, and discovered that I kind of liked doing that.

Now, weirdly, some people actually consider me to be fashionable. It’s still a label that feels strange to me (and I often think it means “you sure do own a lot of clothes!”), and I don’t really believe that I dress particularly well. I still sometimes feel like my clothing is a disguise rather than an a form of self-expression. In a lot of ways, I’m still that skinny, ugly teenager who has no idea what to wear; I still study the way people dress (more out of habit, now, than out of necessity), and although I don’t cut pictures out of magazines anymore, I do pin copious amounts of fashion on Pinterest. But now, instead of feeling like this is something that I have to do in order to fit in, I do it because I’m looking for ways to stand out from the crowd. I also do it because I enjoy it.

Having taken the time to look back and write all this down, I’ve realized something: I took an experience that was ultimately really sad and tough and demoralizing, and out of that I developed a passion for something that I didn’t really care about before. Being bullied led me to explore and learn to love something that I might not have thought much about otherwise, something that still brings me happiness as an adult. And really, isn’t that the best possible outcome of a situation like this?

Anyway, here are a few things that are inspiring me these days. Maybe they’ll inspire you, too!

Tweed Skirt from Steven Alan

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Failure Is Easy (And Sometimes Success Fucking Sucks)

4 Oct

I did a teaching demo today for the owners of a local yoga studio. It was an amazing opportunity – their space is beautiful, they have a ton of teachers that I love and respect on their schedule, and it’s walking distance from my house. I’ve known the two owners for nearly a year, and they’re wonderful women – both are amazing instructors who have a quiet, gentle presence that would put anyone at ease.

Needless to say, I was fucking petrified.

I started out by nervously giggling my way through a short interview, and then spent a few minutes fumbling around with the audio system, trying to get my music to play and hoping that the trembling in my hands wasn’t obvious. I’d planned and reviewed the sequence that I was going to teach, so fortunately I didn’t forget it or anything, but my voice had gone strangely squeaky, and I could tell that my breathing was shallow. After a few minutes, though, I hit my stride and started to feel more confident. After all, I teach several times a week, right? I know how to do this.

Right?

Afterwards, they smiled at me, and told me what a lovely teaching voice and style I had, mentioned that I’d given excellent cues and had clearly been well-trained, and finally said that I had a beautiful practice.

Even a three-year-old could have heard this but coming a mile away.

But, one of them said gently, we noticed that you didn’t look at us. Do you ever walk around the room while you teach? Do you ever offer adjustments?

I do, I do, I stammered, I mean, maybe not as many adjustments as some other teachers, but I can do them. I mean, we learned how to. And I can walk around the room while I teach. We did focus on that in our training. Walking, that is, around the room, and not just demonstrating the poses to the students. It was something my teachers talked a lot about.

It must have been hard to teach to us, said the other, it was probably overwhelming to teach to the two owners of the studio.

I was totally nervous, I said. Didn’t you hear my voice shaking?

It was the sort of thing I knew I shouldn’t have said even before I said it, but then it came out anyway.

They talked to me a bit longer about the importance of connecting with your students, of having a relationship with them, and of maintaining an awareness of what’s happening in the room at all times. I said a few thing that probably sounded like feeble excuses. They thanked me for coming in, said that they had no immediate spots available on the schedule, but would keep me in mind for the future. I thanked them a little too profusely for having me in to demo for them (because it’s an honour to even be asked, right?) and then rushed out the door.

I don’t know which reaction to criticism is worse: to tell yourself that what other people see is wrong, that they just don’t understand what you’re trying to do, that they’re the ones with the ones with the problem, not you, or to do what I did, which was to tell myself that I’d flat out failed.

The thing is, they were right. I didn’t look at them while I was teaching. I probably don’t connect with and engage with my students enough. I do need to get up off the mat and walk around the room more often.

I could have said to myself that I would work harder, that I would take workshops on how to give adjustments, that I would get better and be the best teacher possible. The problem with that line of thought is that it seemed overwhelming and exhausting. I was tired just thinking about it.

It was easier to tell myself that I’d failed, that I was a bad teacher, that I should just give up and move on. It was easier to blame myself for not being prepared enough, for not thinking to look at them often enough, or even for scheduling a demo like this before I felt fully confident in my skills.

Failure is easy. Failure means that I get to give up, relax, not be so hard on myself. Failure means that I get to spend more time at home with my husband and son, and less time improving myself. Failure, somehow, means less anxiety.

Success, on the other hand, can be totally scary. With every success comes the idea that you need to build on it, keep the momentum going, continue to grow bigger and better every day. And success, of course, makes every little failure seem all the more bitter.

Every time I write something on here that elicits a reaction from people, that ends up being passed around on Facebook, or generates a lot of comments, I feel like my next post has to be even better. And then if I go a few days without posting anything that gets a big response, I feel like I’ve lost it, whatever it is: the ability to write, maybe, or to communicate effectively, to touch people.

A few things, though:

1. Every post I write doesn’t have to win the Nobel Fucking Prize for Bloggers

2. I am still just getting started as a writer who is writing things for other people, and not just scrawling messy feelings in my diary.

3. I am still a novice teacher; I just graduated in June for Pete’s sake

4. Who the hell is Pete, anyway? Is it Peter like the apostle Peter, the one who became the first Pope?

5. I really hate that dude.

I am a good teacher; I am also a good writer. I have innate talent in both of those areas (I mean, if I do say so myself). BUT (did you see that but coming?), innate talent will only get you so far. The rest of the way to success is hard fucking work. It’s hard work, and the road is never smooth – every time I succeed, it will likely be followed by a few failures, and it will be a while before I get to the point where I feel like everything is settling down and working out the way I want to. Maybe I never will. See? Fucking scary.

People like to say that failure is not an option, except that it totally is. I could totally pack up my yoga mat and go home. And I could justify that decision a million ways: teaching was wearing me out (true!), I felt like I wasn’t seeing my family enough (also true!), I wasn’t sure how to improve or move forward (double true!). Failing would be easy.

But I don’t want to fail.

I don’t want that to be the lesson that I teach Theo.

I don’t want that to be the lesson that I teach myself.

So if you’ll excuse me, I will take my lovely voice, my excellent cues and my beautiful practice and go work on learning how to properly walk around the room. It’s going to suck at first, and I’ll probably screw it up the first few times I try it, but I’ll ride that out and see it through until I get better. And I will get better, because I am a smart lady who can figure this shit out.

My child, even though I am a stupid misogynist and it’s totally my fault women can’t be priests, I will pray for you.

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Spem In Alium

2 Oct

Sometimes, when I’m feeling really down, I listen to Tallis’ Spem In Alium, and it improves my life 100%. Like, my house could be on fire, and I’d be all, these harmonies are transcendent.

You may remember Thomas Tallis as the wispy queer composer dude from The Tudors.

He never brushed his hair, could barely form a coherent sentence, and spent most of his time staring dreamily off into the middle distance. Why, you might ask? Because music, that’s why.

Although there is no historical evidence that the real Tallis slept with men, I am happy to tell you that portraits of him (the earliest of which, to be fair, was painted 150 years after his death) make it appear as if he’d actually met a comb once or twice in his life. Which is good, because really – I know The Tudors is pretty much the least historically accurate show of all time, but do you really think Anne Boleyn would have let a dude like the one above hang around her court? NO. NO SHE WOULD NOT.

Probably not really what Tallis looked like, either. Just saying.

Tallis was at court during some pretty violent religious upheavals, and somehow managed to continue to be Catholic and keep his head. This is actually a pretty stunning achievement, considering the times.

The first monarch Tallis composed and performed for was Henry VIII, the king who created his own church so that he could have as many divorces as he wanted. Then there was Edward VI, who only lived until the age of 15 but was still really, really into the Anglican church. Next came Jane, who was queen for about five minutes, which means she probably didn’t have much time to stir up religious shit and/or commission songs. Then came Mary I, called Bloody Mary because she loved killing Protestants so much. Of course, I’m sure Mary was totally cool with Tallis and probably gave him a ton of fist-bumps, on account of how they were both Catholic.

Finally, there was Elizabeth I,  while Protestant, was pretty damn tolerant when it came to religion, at least when compared to her predecessors. I mean, sure, she passed an act saying that everyone in England had to go to an Anglican church once a week or else face a fine, but she wasn’t really killing Catholics, so that was a plus for Tallis.

Spem In Alium was composed during the reign of Elizabeth I, probably in 1570. It’s a forty-part motet performed by eight choirs of five members each (which means that you need 40 frigging people singing 40 totally different lines of music). But even though we know the approximate when of Spem In Alium, we’re still unsure as to the why.

One theory suggests that it was written in response to a challenge issued by the Duke of Norfolk. See, at the time, the Italian composers were doing some crazy shit using a million singers singing a million different melodies at the same time. In particular, people were pretty obsessed with Alessandro Striggio‘s Ecce Beatam Lucem, which was apparently written for either 40 or 60 separate voices. Of course, the English couldn’t tolerate an Italian besting them at anything, so Norfolk challenged English composers to write something similar but even better.

The main reference we have for this story is a letter by law student Thomas Wateridge, which says,

In Queen Elizabeth’s time yeere was a songe sen[t] into England of 30 parts (whence the Italians obteyned ye name to be called ye Apices of the world) wch beeinge songe mad[e] a heavenly Harmony. The Duke of — bearinge a great love to Musicke asked whether none of our Englishmen could sett as good a songe, and Tallice beinge very skilfull was felt to try whether he would undertake ye matter, wch he did and made one of 40 partes wch was songe in the longe gallery at Arundell house, wch so farre surpassed ye other that the Duke, hearinge yt songe, tooke his chayne of Gold from his necke & putt yt about Tallice his necke and gave yt him.

Write an awesome song, get some sweet bling. Well played, Tallis, well played.

If this version of events is true, then it’s likely that Spem In Alium was first performed at Nonsuch Palace, which is maybe the best castle name ever?

Another popular theory suggests that Tallis wrote this forty-part motet in honour of Elizabeth’s fortieth birthday. Get it? Forty voices for forty years. So clever!

A third theory suggests that the Catholic Tallis wrote it to honour the SUPER CATHOLIC Mary I. After all, he did work for her at one point, so maybe he still had some fond feelings for her. Maybe he spent the entirety of Elizabeth’s reign (or the part of it he lived through, anyway) pining for good old Bloody Mary. Seems unlikely, though.

Whoever it was written for, Spem In Alium is one of the most beautiful, other-worldly pieces of music I’ve ever heard. It’s the kind of music that makes my heart beat a little faster because, I don’t know, it’s just so wonderful to live in a world where things like this are created. It’s the kind of music that makes me wonder how the hell man who lived in Tudor England could write something that would make a woman cry 450 years in the future? It’s the kind of music that, for the short time it’s playing, actually makes me wonder if we might live in the best of all possible worlds.

Latin text:

Spem in alium numquam habui praeter in te

Deus Israel
qui irasceris
et propitius eris
et omnia peccata hominum in tribulatione dimittis
Domine Deus
Creator coeli et terra
respice humilitatem nostram

English text:

I have never put my hope in any other but in you
God of Israel
who will be angry
and yet become again gracious
and who forgives all the sins of suffering man
Lord God
Creator of Heaven and Earth
look upon our lowliness

I should also mention that while researching this post I discovered the 97% of men in Tudor England were named Thomas.

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Writing, Yoga and Doing What You Love

1 Oct

When you first start writing, chances are you’re not doing it for anyone other than yourself. You might begin by keeping a journal, or producing badly illustrated, yarn-bound books about anthropomorphic cats named Stubby, or else writing raw, angst-written teenage poetry by moonlight while the rest of your family (who, by the way, don’t understand you) are asleep. I mean, maybe. It’s not like I’m drawing examples from my personal life here or anything.

It might be that writing for yourself is all you want to do, and that’s great. That means that you can write whatever you want, edit as much (or as little) as you want, and basically be able to not give a fuck about, well, anything. JD Salinger (the king of giving no fucks) said,

There is a marvelous peace in not publishing. … It’s peaceful. Still. Publishing is a terrible invasion of my privacy. I like to write. I live to write. But I write just for myself and my own pleasure. … I don’t necessarily intend to publish posthumously, but I do like to write for myself. … I pay for this kind of attitude. I’m known as a strange, aloof kind of man. But all I’m doing is trying to protect myself and my work.

If you want any kind of commercial success, though, you need to start thinking about other people. In a best case scenario, you could write exactly what you want to write, and, due to some crazy alignment of the stars or a perfect moment of cultural zeitgeist, it would make the New York Times bestseller list. For example, you could write smutty Twilight fan fiction, change a few names, and have it become a wildly successful work of erotica. However, if that business model isn’t working for you (and don’t worry, you’re not alone), you need to figure out who your audience is and what the hell they want to read.

I feel like this is kind of where I am right now, not just with writing but also with yoga.

When I first started practicing yoga, it was (obviously) something I only did for myself. I remember my first class vividly; I struggled through it, but afterwards I was so relaxed that I felt high. It was love at first downward dog.

In the beginning it was just a physical practice, but later it became something more. I’m hesitant to describe it as “spiritual”, but the way I practice now certainly goes deeper than just my body. There have been times when yoga has triggered unexpected emotions in me; I laughed the first time I went into urdhva dhanurasana (full wheel), and kicking up into handstand still makes me insanely happy. There have been poses that have made me feel irrationally angry, and, much to my embarrassment, I’ve cried in class once or twice. Luckily, the lights were dim, and I was able to slink out the door without anyone noticing that something was amiss.

The feeling that I associate the most with yoga, though, is what I like to refer to as the “bell jar” feeling. I call it that because of the way Sylvia Plath describes feeling after her first shock treatment:

All the heat and fear had purged itself. I felt surprisingly at peace. The bell jar hung, suspended, a few feet above my head. I was open to the circulating air.

The bell jar, of course, is the metaphor she uses to describe her depression:

If Mrs. Guinea had given me a ticket to Europe, or a round-the-world cruise, it wouldn’t have made one scrap of difference to me, because wherever I sat – on the deck of a ship or at a street café in Paris or Bangkok – I would be sitting under the same glass bell jar, stewing in my own sour air.

I mean, let’s face it, we all have bell jars of one sort or another, though some may be lighter and clearer than others. For me, yoga, both the physical practice and the philosophy, was the best way of lifting mine for a little while.

Then I started teaching yoga, and it went from being this beautiful, deeply personal thing to being, well, a business. When you’re teaching, you can’t just do whatever you want. You can’t just teach your favourite poses over and over, or have a 20 minute savasana. I mean, sure, if you’re some kind of yoga superstar and you’re having to turn people away from your overcrowded classes, then maybe. But I’m still working my way up the ladder, and for now I have to figure out what the people want and how to give it to them.

It’s been a tough lesson to learn, especially since people in the yoga world aren’t always exactly, well, yogic. They can get angry if a class isn’t exactly what they wanted, or if they think you’ve made a mistake, or if you go five minutes too long or too short. You, the teacher, are providing a service, and the student, your customer, is always right. Or, rather, they are if you want them to ever come back to your class. Which, by the way, you probably do.

And then there’s the fact that you, as a teacher, should maintain a personal practice. It’s hard, though, to convince myself to roll out my mat when I get home from a day that’s been nothing but yoga: teaching yoga, doing yoga studio admin, writing emails about yoga. By the time I make it back to my apartment, all I want to do is snuggle Theo, hang out with Matt, and write.

So yeah, I’m feeling a little burned out on yoga these days. And then I feel guilty for feeling burned out, because it seems unfair to my students that their teacher is kind of tired of yoga. And then I think about how everyone always tells you to try to find work doing what you love, and I wonder if the natural consequence of doing what you love is that instead of loving your job, you end up feeling resentful about something that used to bring you so much joy.

Today, though, I cracked Patanjali’s Yoga Sutras for the first time in months. Reading through the second sutra, I caught myself thinking, oh yes, I do love this. Later, when I went to teach my class, I ended by talking a little bit about what I’d read in the sutras that day, and that felt good. Afterwards one of my students came up to me and told me how much she’d enjoyed the class, especially the bit at the end. And that felt really good.

I guess that what I’ve realized is that there has to be balance between what you love and what you give out to other people. Yes, you need to offer something that people want, at least if you want to make any money doing whatever it is you’re doing, but you need to inject some of yourself into your work as well. Being yourself when you teach or when you write is what makes your work authentic, and people can sense that. Have you ever read a book that was written specifically to appeal to a certain demographic? Usually they’re pretty terrible. By the same token, a book that’s just the author nattering on and on about whatever their pet subject is can often be just as bad.

So if you can find that perfect sweet spot of sharing what you love and giving what people need, then you’re probably golden. If you can find a way of separating thing-that-I-love-doing from thing-that-I-get-paid-for while at the same time acknowledging that, to a certain degree, they are the same thing, then you’re probably way ahead of the curve. And if you can find a way to admit that it’s okay to feel burned out on the places, people and leisure activities in your life, and that you can come back to them when you feel ready, then you get a thousand high fives.

And that, my friend, is a lot of high fives.

Check out all the fucks I’m giving. Oh wait, there are none.

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What It’s Like To Write

27 Sep

Writing here is sometimes like standing in the middle of a crowded auditorium, peeling off layer after layer of clothing, asking, Do you like me yet? How about now? Or now?

It’s sitting in a confessional and whispering my secrets into the gloom, inhaling the church fug of old incense, furniture polish and a thousand rainy days and exhaling all of my sins.

It’s feeling like a grubby-faced kid writing a note to their crush, trying desperately to play it cool but ending  up with a barely articulate mess of feelings.

It’s sometimes like being pregnant and giving birth to a kitten, while all along I thought I was carrying a baby. And it’s not that I don’t like, maybe even love, the kitten, it’s just not what I set out to make in the first place.

It’s slogging through the morass of possible words, digging in the muck to find the perfect turn of phrase.

It’s realizing that nothing I write will ever be perfect, no matter how obsessively I revise and revise and then revise some more.

It’s hearing Audra say, Perfect is the enemy of good.

It’s wondering if anything I write will ever be good, or even good enough.

***

My friend Meredith posted this poem on Facebook and it’s so exactly right. Every word is like a knife straight through me.

My party piece:
I strike, then from the moment when the matchstick
conjures up its light, to when the brightness moves
beyond its means, and dies, I say the story
of my life

dates and places, torches I carried,
a cast of names and faces, those
who showed me love, or came close,
the changes I made, the lessons I learnt

then somehow still find time to stall and blush
before I’m bitten by the flame, and burnt.

A warning, though, to anyone nursing
an ounce of sadness, anyone alone:
don’t try this on your own; it’s dangerous,
madness.

Simon Armitage, 1993

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Shameless

23 Sep

On Thursday my piece about girl culture was featured as a guest post on Shameless Magazine’s website.

My response was as follows:

1. Stare blankly at computer screen, totally dumbstruck

2. Run around in circles, yipping excitedly

3. Run down to the store below my studio and tell the two dudes who are working

4. Try to explain to said dudes why I am so excited

5. Send my mother the following email:
MOM MOM LOOK I AM A REAL WRITER CHECK IT OUT
xoxo
Annabelle

6. Receive this in response:

Congratulations. Great Job! Of course you are a real writer. I always knew you were a writer. Love, Mom

7. Go home. Realize that I am really, truly happy. Decide not to do anything about being happy, but instead just sit there and experience it.

8. Put on a pretty dress

9. Pick up Theo from daycare and take him to the park

10. Try not to think about the future

When I say, try not to think about the future, what I mean is: I will try not to stress at this moment about what and where I will be published next. I will try not to worry about writing something amazing, about being The Best I Can Be. I will take this for what it is: pure and unadulterated awesomeness.

Image

Image

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This is good. This is good. This is good.

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If This Isn’t Nice, I Don’t Know What Is

3 Sep

I teach a yoga class for my friends on Sunday afternoons. Usually I get three or four people, but today almost no one was able to make it. One friend was working, another was out of town, and a third was eating deep-friend bacon-wrapped Mars Bars at the Ex. You know, the usual Labour Day weekend stuff.

My friend Susan, however, did show up, but both of us were having a hard time getting up off the couches in the lobby and going into the actual studio. We stalled ourselves by talking about Richard III and Anne Boleyn. We promised ourselves that in five minutes we would get up. We even tried bribing ourselves with a short practice and a long savasana.

None of this worked. We just couldn’t be tricked into practicing.

Instead we hung out, discussed about my favourite vacation idea (The Dead Author Tour of New England – it is going to be amazing), critiqued the trailer for the new Anna Karenina movie (you guys, I can’t even), and talked about how difficult it is for both of us to take time off  – we both feel like we need to relax but then get stressed out over how much not-relaxing we end up doing.

Finally, Susan asked if I maybe wanted to go get a pedicure. I wasn’t super stoked on the idea, because I’d just painted my toenails a few days earlier, but agreed that we should do something. Something other than lolling around on couches, I mean. So we left and started walking north along Yonge street.

Trudging uphill in the humid, late-summer air, I suddenly realized what I wanted to do: I wanted to sit in the park, drink grownup drinks and read magazines.

Let’s do it, said Susan.

We sat in the park, we drank, we read excerpts of articles out loud to each other. We talked the way pre-adolescents do, about everything and nothing, mixing big, smart-sounding ideas with meaningless trivia.

At one point, embarrassed about confusing A Room With a View and A Room of One’s Own (don’t judge), I flopped back onto the grass and stared up into the leaves of the tree we were sitting under.

Whoa, I said, you have to see this tree.

Why, asked Susan, lying down beside me, have we been reading magazines like chumps when we could have been looking at this tree all along?

That was a fair question.

It was one of those moments where everything is absolutely perfect; a moment where you wouldn’t change a thing, not the colour of the sky, or the temperature of the air, or even the tiny ant crawling up your leg. It was a moment so good that I was already experiencing nostalgia for it, even while it was still happening.

It made Susan think of a quote from Vonnegut’s A Man Without A Country:

“If this isn’t nice, I don’t know what is.”

It made me think of the part in the Stand By Me when Older Gordie Lachance, who’s narrating the movie, reflects back on Vern (played by an itty bitty Jerry O’Connell) saying, this is a really good time:

“Vern didn’t just mean being off limits inside the junkyard, or fudging on our folks, or going on a hike up the railroad tracks to Harlow. He meant those things, but it seems to me now it was more and that we all knew it. Everything was there and around us. We knew exactly who we were and exactly where we were going. It was grand.”

Although I’m not sure that either Susan or I could say with any conviction that we know exactly who we are or exactly where we’re going, it did seem that the whole of what we were experiencing was greater than the sum of its parts. It was more than magazines and booze and the hazy, golden early September air around us – yes, it was all of those things, but it was also how easy happiness was in that moment.

I often feel as if I’m constantly chasing happiness, whatever happiness means, only to have doubt or fear or anxiety push it just out of reach. And yet, here I’d achieved it effortlessly. How did that happen?

Later (actually, a fair bit later than I’d originally intended), I walked home to my family. I opened our front door to find Matt and his brother Adam feeding Theo grapes. I mumbled an apology for my lateness, and Matt said, that’s okay.

He didn’t say it in a way that sounded angry or begrudging, even though I’d delayed everyone’s dinner by at least an hour. He said it in a way that meant, I don’t mind and I hope you had a good time.

After supper, as I did the dishes, I could hear Theo shrieking with laughter as he played with my brother-in-law in the other room. I thought, This is good. I am lucky.

And then, more than anything, I wanted to write this out. When things get hard again, as they inevitably will, I want to have this memory preserved somewhere outside of my head. I want it to be able to exist perfectly in and of itself without my mind distorting it. I want to have this here to remind myself that happiness is not only possible, but even, sometimes, easy.

I want to remember that I am lucky.

And if that’s not nice, I don’t know what is.

Oh, and also I found this amazing shirt at Book City. See? Lucky!

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