I want my share

Years ago, Barbara Johns, a woman who taught my children public speaking, addressed an audience of parents and children about the art of speaking out loud to groups of people.

The words that stayed with me from that evening where we all sat together in the local scout hall, keen to hear more about how best we could help our children to become confident young people, and able to command an audience,

‘When you get up to speak in public, your audience is on your side.’

Your audience wants you to do well, Barbara Johns told us.

Your audience is keen to hear from you, and especially to hear that you have something meaningful or entertaining or compelling to tell them, something, whatever it might be.

Your audience suffers with you if you’re too anxious or if you lose your train of thought.

Your audience is your friend.

This idea appealed to me. It suited me to imagine then that if I was to get up to speak my audience would back me.

I’ve since discovered that’s not always the case and that audiences by and large might want the speaker to do well but audiences consist of individuals and people are not homogenous in their desires to see you do well.

There are those who might object to something you’re saying, those who might want to silence you – out of disgust, or rage, or even out of envy, or resentment that you’re the one out there in front and not them.

Your audience, or at least some members of your audience might dislike you for political or personal reasons and resist what you’re saying.

I wish I could hold more steadfastly to Barbara John’s notion that our audience is on our side because whenever I imagine my audience in my head, I’m aware of a much more hostile audience, one that’s ready to bring me down.

Why is this so?

Perhaps it has something to do with the position I hold in my family of origin. Something about being a middle-born child and a female to boot.

Perhaps it has something to do with the fierce competitiveness I’ve long detected among my siblings, each of us striving to outdo one another, even the youngest pitched in competition against the oldest.

The age differences and chronology don’t apply so much these days when we’re all over five decades old and my oldest brother is in his mid-seventies and my younger brother nearly sixty.

But still something of the flavour of those childhood years remain and for me in the middle, my memories of feeling inadequate when pitched against my older sister remains intact.

When I hear my older grandson rebuke my younger grandson for being stupid, I tell him to desist.

‘Don’t tell people they’re stupid.’

They‘re very likely to believe you.

Siblings have a way of competing that no others hold. It’s a competition for parental love most likely.

In my family, there was always this sense that my mother preferred the boys to begin with and most notably her first born son. And then she was also keen on the youngest, my baby brother, but by the time he had arrived there was not as much energy available and she left his upbringing largely in the care of my older sister.

And me, as I grew older.

My family was my first audience, my parents in the front row and they have not been the appreciative audience I’d have liked, though there have been moments when it seemed there was more to go around, when each of us might take turns to speak and when a sense of fairness prevailed. But not often. and not for long.

Too many children and not enough parents. Not enough interest to go around. And so I must create my own. 

Can you re-make yourself from the outside in?

Last night I watched the first episode of Queer Eye at my daughter’s insistence and I watched it through determined to open my mind to a new way of seeing the world. What I saw I disliked. Not because the five gay men who make up the cast aren’t delightful people who exude a certain energy that has its appeal but because I felt there was something essentially dehumanising and humiliating about taking a 57-year-old truck driver out of his home for a week and gussying him up, both his home and his clothes, his all over bodily appearance to render him more attractive to others, particularly to the woman in his life.

It struck me as such a construction. Given I recognise that all television entertainment even documentaries and real-life shows are all constructions, why would I think otherwise?

Still I kept thinking about all the money that went into reviving this man’s wardrobe, his house and his love life. They did it all in a week, with much cooperation from him.

At least, they didn’t try to make him lose weight or alter his complexion radically. Tom, our made-over man, suffers from Lupus, hence his skin is dry and red.

Prior to his makeover, Tom hid behind a shaggy pepper grey beard that covered the bottom half of his face and a baseball cap that covered the top half of his face and balding head. Only his blue eyes peeked out from his ruddy complexion.

It was clear he was a man who was loved within his community, a man with friends although he was lonely at night after work, after three failed marriages, one daughter who lived nearby and a grandson whom he treasured. He tended to sit in his favourite poo coloured recliner and watch television.

His favourite meal was Mexican nachos and some sort of tequila mixed with Meadow Dew over ice concoction that he clearly enjoyed, but which his five minders found revolting.

In the series, the five make over artists are each ascribed a role, one in clothes, one in design, one in diet, one in culture – whatever that means – and one in grooming.

I did not enjoy this series because it focussed on the appearance of things even as they argue that to give up on your appearance is to give up on yourself and they’re right to a degree. Not just on your appearance but on looking after yourself.

Tom repeated this mantra: ‘You can’t fix ugly’.

It was this statement and the efforts the five guys made to reassure him it was not true that left me again troubled.

I think of ugliness as very much in the eye of the beholder and also something that can reflect our inner state.

When I feel bad inside I feel ugly on the outside and it has nothing to do with the actual aesthetics of my face or body.

It’s a feeling, which is not to say there’s no such thing as ugliness or beauty. There are things that reflect both, but people are people irrespective of their appearance and if we get hooked on merely improving the appearance of things we fail to recognise what lies beneath.

Maybe that’s the point of this show, to get below the surface into what lies beneath but I sensed a missing element, the true complex state of mind of all these people.