Grief/Loss/Feelings Tag

The novel’s title quotes from a poem by Samuel Taylor Coleridge, ‘On Receiving an Account That His Only Sister’s Death Was Inevitable’. Miriam Toews writes this poignant and unflinching tale based on the autobiographical details of her own family life. She writes with humour that sounds almost flippant about their family dynamics and troubles. She captures the senses of paradox that comes when dealing with difficult circumstances that co-exist with the common rituals of everyday life. Hence when a family member is sick, there can be a heightened intimacy, and yet provisions must still be bought, meals cooked, and cars repaired. There is a sense of melodrama in the unfolding story. She brings dark humour to the tragic circumstances her central protagonists find themselves in. “Now I couldn’t think or write. My fingers hated me. I was afraid that when I went to sleep I’d wake to find them wrapped around my throat.” Two sisters grow up in a family already carrying sorrow. One sister longs to end her life, the other, lives with anxiety and responsibility of care, which this creates. My own mother had a strong death urge, so I identified with the care-taking narrator, and the tension, which a preoccupation with suicide places within their relationship. Through descriptions of domestic details, and the unfolding narrative, I empathised with the complexity that comes from loving someone for whom depression is so bleak that annihilation is preferable; and how that desire affects everyone around them. Miriam Toews treads lightly around what might be considered a taboo theme. She describes all their ‘puny sorrows’ with grace and tenderness.

‘A Manual for Heartache; How to Feel Better’ by Cathy Rentzenbrink, illuminates, a process of recovery, in not too many words. After her brother’s traumatic death, Rentzenbrink felt ‘stuck’ in grief. Looking beyond the content of her story, she finds what we all share. She explains, “all loss – from the untimely death of a loved one, through to the loss of innocence, all the way to having a bag stolen – feels as though it is specific to us, but is actually universal.” What she does brilliantly is describe nebulous territories like depression, shame, grief, and gradual recovery in metaphors that resonate. “Grenades come in all shapes and sizes,” is how she describes the impact of different deaths and traumas. And of crying, “Give in to tears, think of it like bleeding a radiator.” Although a self-confessed ‘Pollyanna’, I found her willingness to expose her vulnerability comforting. “I realised how many of us look as though we’re navigating life in an apparently successful or even happy way, yet are weighed down by burdens and exhausted from the effort of hiding our sadness.” She articulates “the pursuit of distracting ourselves from our pain, so chaos and destruction often follow in the wake of the first wound.” She also reveals how touching into her pain allowed a shift to happen. “And in daring to look again on the most painful scenes from my life, I also reconnected with the warmer, sweeter memories that had been trapped in the no-go area.” Rentzenbrink’s perspective is reassuring, but not prescriptive. She sees the holes in secular society, reaches for a meaningful weaving between grief and love, and ends by offering questions for the reader to consider.

‘The Red Hand Files’ is the blog of singer/song-writer Nick Cave. A series of questions are asked by members of the public and he replies in letter form accompanied by an image. It is a Maverick, entertaining and profound collection of musings. His answers are sometimes deep, often funny and always candid. They are brilliant nuggets of prose irrespective of your interest in the music of ‘the Bad Seeds’. I happen to love the pulsing beat and ‘Hammer House’ organ of ‘The Red Right Hand’ (theme tune of Peeky Blinders). The question he asks which underpins this compulsive call and response of blog writing is “Are you there?” The questions are themselves funny, sad, meaningful and ultimately reflect the questioner, spanning sex, death and music. From #42 “With song writing we enter the imagination, that wildest of erogenous zones, where intense obsessive yearning can be like a roaring in the heart and loins both”. He reveals not only his wit, but his Christian framework and dedication to transcendental meditation, which support him in his own profound enquiry around grief. #44 “For most of my life I have felt a strange gravitational pull toward an undisclosed traumatic event, that could only be described as a dreadful yearning, and I found it eventually in my son’s death – something that both destroyed me and ultimately defined me.” I particularly love #6 “…if we love, we grieve. That’s the deal. That’s the pact. Grief and love are forever intertwined. Grief is the terrible reminder of the depths of our love, and like love, grief is non-negotiable.” I found myself spontaneously tapping out a question and hitting send before I could censor myself. I await his reply.
www.theredhandfiles.com

“Have you been good?” she asked, as I silently observed on the train. A small child is nodding in return. “Are you sure? Father Christmas only comes to children who have been good.” This young girl is being asked to pass an invisible test with an absent judge of unqualified criteria. My childhood was littered with these impossible benchmarks. I tried to be good. I wanted to be good. At home, at school, in fairy tales, at church I was surrounded by Christian morality. I absorbed the quest for goodness. As I grew older, the promise of being ‘a good girl’ seemed less achievable. I wanted to be a good girl in order to be loved. However, being a good girl did not always bring me my desired outcomes. I flirted with being a bad girl, but ultimately found the weight of shame and guilt too difficult to sit with. I chose ‘goodness’ as an independent act of rebellion from a society that espouses goodness, but rewards compliance. I remain as an adult mired in the socialisation of trying to be good. Instead I often find myself trapped by feeling not good enough. My naïve attempt to be a good girl in order to have my needs met, has left me disempowered. My inner child set the bar at perfection. By her standards, I have failed. Please Santa, parents, grand-parents and teachers, can we foster a different ideal? I love you unconditionally and I will show that I love you by my actions and words, because of who you are.

It is ‘Persephone’ time. The shortest day seems drowned in sudden prolonged downpours. Beyond the front door everything feels grey and dank. Like Persephone in the underworld I cannot resist the burst of sweetness on biting into pomegranate seeds. We sit on the sofa, three of us, to celebrate the solstice with the delicious sweet tang of pomegranate blended with creamy coconut yoghurt. The neglected garden is covered in darkened magnolia leaves mulching quietly. This is the season for composting, for going inside to digest the events and experiences of the year that has passed. Like the pomegranate, the year divides with symmetry, and this is the axis where we turn towards the light while still deep in the dark of winter. I reflect on the steps taken this year past to welcome in my own grief for all that I have lost, for nature’s struggle, for the disappointment of paths not taken by our leaders. I reflect on the journey so far to hold space for others to experience more of their felt selves. I celebrate the opportunities to practice loving those close to me. I value the simple pleasures that bubble up when I am connected. I continue to learn how to love life more.

“This is the death of truth”, Rose said this morning. We walk slowly with long faces as though there has been a bereavement in the family. I recognise the feeling that everything has changed, and strangely, normal life continues regardless. We walk by the canal with a sense of collective doom. I sense the righteous anger of the no-doubt-young author of “FCK BORIS!” on the tow path. I feel the sting of the tears that spill from this silver painted eye. Smiles, usually readily available seem hard to offer to passers by. Grief hangs like fog over us as we pace this eclectic city. I dream of escaping to somewhere else. I imagine heading to Scotland with a yurt to keep chickens. I imagine London as an island loosing its tether and taking the Thames with it out into the channel to re-position itself. I imagine I am running sweaty in black T-shirt and khaki trousers working to outwit the engineers of ‘the matrix’. I imagine sand in my eyes as I expertly swish my light sabre to vanquish storm troopers. Instead I eat chocolate. “Telling the truth is a choice,” says the exasperated mother to 7 year-old Hamza, (in trouble at school). “You can choose to tell the truth”. I listen to this mother on the bus pleading with her son to “stop making wrong choices”. How can he possibly know what wrong choices are in this time where truth and lies are so blurred by those in power, where right and wrong is experienced so subjectively?

We set up the room before the group arrive. We work as a team to move the piles of papers, washing and shoes that have clustered in corners. Tony hoovers the stairs, sweeps the floor. I bake something healthy but sweet. Then Tony blitzes the kitchen, removing all evidence of my recent vigorous food preparations. Tony arranges chairs, makes piles of cushions and blankets. I build a small altar to support us in our work to find connection and depth. As I place crystals, eagle feather, bowl, candle and stem of whatever calls from the garden – crab apple, bay or rosemary. I speak my intention, ask for guidance. Then Tony and I meditate to connect and ground. One by one the group arrives with hats, boots and bike helmets, carrying backpacks with badges and patches on. They come full of the bustle of their day and the hassle of the journey. They may bring anticipation, anxiety, but also willingness and courage. Having created the conditions, the journey into mystery begins to unfold. A group of strangers spend the evening together each with whatever they are carrying inside, and being uniquely human together. It is always an extraordinary honour to witness and be a part of.

What is the story here? This is a visual landscape of decay, of impending change. There is a need for housing in the city that ordinary people can afford. There is pressure on local councils to provide more affordable housing from a depleted housing stock. Local government housing budgets are squeezed. Property developers and housing associations take over estates and mop up the profits. Developers are keen to maximize profits. There is limited space in the city. Gentrification is pricing out local people. We live in a time where austerity cuts the public services that buffer some of the worst injustices in our society. I live in a society where the rich are rewarded and the poor lose more. I know that the economic divide impacts health, education, access to services, quality of life and life expectancy. We live in times where corporate greed fuels politics. We have lost trust in politicians. Young lives are collateral in a system that does not value their creativity and gifts. Wall space is claimed for personal expression, and for competitive tagging. We live in times where power is wielded at the expense of people and planet. I have a vote.

Here I sit, right now in time. I feel the reassuring support of this seat and my breath spiralling in and out. I also notice how much the present is coloured by responses to my lived experience. In grief rituals that connect body with feelings and mind there is the possibility of surfacing some of the old emotional deposits  stored in our cells in order to clear them. One reason is to be more available to live fully in the present. In my psyche and in the context of grief rituals the future looms large. The present era with all its injustices, inequalities, floods and raging wildfires will give rise to what comes next. Being here now is a worthy starting point, but I am wary that without a more intentional framework, without a commitment to being of service, to fulfilling my highest potential to be fully me, it might be another kind of disconnect.

As we leave Union Chapel, the shadow of the gate plays on the wall. We have been to ‘Breathing Space’, a night of meditation with Boe and Bilal. Given space to honour our pain for the world, we discuss ‘the great unravelling’ as Joanna Macy names it – the shadow consequences of ‘business as usual’ caused by the industrial growth economy. The acknowledgement and naming of the shadow, the unseen, brings power through seeing the whole. Everything has a shadow. “That which you do not love regresses and turns hostile to you”, states Jung, whose wisdom illuminated ‘the shadow’. I sit today with my own dark side – the imposter, the incompetent as well as the righteous. Pickle (aged hound), now fairly deaf and near blind moved toward my shadow, which was skulking on the stairs; he then jumped to find my body behind him. I observe the play of light and dark, see the beauty in the shadow curlicues on the wall. The next evening in the series is ‘Active Hope’.
www.unionchapel.org.uk/event/11-12-19-spirituality-in-powerful-times/