‘Do it in the dark’

In the yellow lunch box in which I collected the negatives my father left before he died, I came across a single shot cut loose from another longer line of negatives, which I sent off to be developed.

I imagine my father took this photograph in the days after he had bought a device which enabled him to take the equivalent of today’s selfies.

In this photo my father sits side on, profiled against an otherwise blank wall. He is naked except for his glasses. It’s a grainy shot and my father’s pose is typical of olden day photos in that he sits on a chair facing away from the camera with a stern expression on his face.

My eye is drawn to the thin line along his crossed leg, the way it travels across his body to emphasise the thinness of the man. And his glasses, the only other item in the photo beyond the edge of the chair, his body and the wall are dark and heavy.

His shadow falls to the front. It emphasises his profile and perhaps it’s this shadow he was trying to recreate.

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I have another small photograph of my father wrapped in tissue paper for protection. It has faded with age and the image of my father in its centre is difficult to discern. I use a magnifying glass. In it, he is lounging on a cane chair in front of a bunk bed, fitted with mosquito sheets. The picture was taken by one of his fellow soldiers when my father was stationed in Java, Indonesia. At least in this photo he is not entirely naked.

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To my adult self, my father’s effort at photographic art fails.

To my childhood and adolescent self, it is the image of an exhibitionist, a man who took his clothes off in front of his wife and children, not because it was hot, but in a bid to disturb them by exposing something of his sexual hunger as an act of violence, thrusting things into view that should have stayed hidden, if only from his children.

From today’s perspective nakedness is scarcely remarkable when every second image on the Internet involves some element of nakedness, or self-revelation, particularly of the female form.

The sight of a naked man, a selfie taken in the sixties or seventies, might not seem so strange, and there are plenty such photos in the books my father kept on his shelf in the days of ‘Do it in the dark’, but to me, my father’s nakedness is matched only by the shock I felt when I first discovered it and its correlates in the photos my father took of my mother, nearly naked but not quite in the Camberwell house, presumably taken some years earlier.

The fact the photo was kept hidden suggests my father wanted it that way.

Fifty years later I bring it to life and reflect yet again on my ongoing struggle with what is seen and unseen.

Naked on the page

Montaigne shocked everyone when he
wrote about the size of his penis.  To his mind, it was small.  
Why, among the many thoughts I have encountered
today, does this one stay with me?
 There are other images in my head, too: diamonds from
the 1800s that are attached to springs so that when the wearer moves, they tremble,
shimmer and dazzle the eye, diamonds en
tremblant
I tried to have a conversation last
night with one of my daughters about a trend that’s come to my attention
whereby people post images of their so-called private bits to their
lovers. 
It’s not that new, my daughter
tells me.  It’s been around for ages.
Apparently, there is a new law that
forbids the transmission of such images without a person’s consent. 
Jennifer Wilson, on her wonderful
blog, No place for sheep, refers to revenge porn, the business of people taking
it out on others by circulating compromising images or photos of the
person against whom they want revenge.
A while ago I heard about a young woman in the armed forces who had sex with her boyfriend and unbeknown to her he had organised that the
proceedings be videoed and circulated to his friends.  
What’s behind this, I ask
myself.  Why do it?  And what is it like for the person so exposed? 
To have a photo of your labia
online so that the entire world can see, or a shot of your penis, why so shocking? 
There’s the stuff of exhibitionism,
the pleasure we get out of showing off our bodies and the sexual pleasure we get
from being on display. 
Then, there’s the opposite: the
peeping Tom effect.  The pleasure some might
get out of looking, looking in preference to being involved, or being seen. 
I used to think of this as a masculine
activity, the Peeping Tom, the flasher, but women can get in on the act,
too. 
Women whose bodies have been put on
display for centuries. 
When I was a little girl and asked
my mother why the bronze Atlas holding a globe of the world on his shoulders in
the framed print on the wall of her bedroom was naked, she told me, ‘The human
body is beautiful’. 
I had trouble believing her then.  In a strange way I still have trouble.  Bodies can be beautiful but they’re also
haunting and troubling and exciting and frightening and all these things rolled
into one.  Anything to do with body bits,
internal and external seems loaded.
The other day I talked to one of my
sisters about prolapses.  In my mind’s
eye the image that stays with me is the one that first popped in when I was
little. 
One day my mother told me about a
cousin in Holland who had suffered a prolapse on the dance floor.  This cannot be, I now know.  You do not suddenly suffer a prolapse.  I imagine they happen gradually, but when I
was little I saw it happen on the dance floor.
My mother’s cousin’s insides slip
out onto the polished wood floors like glistening red jewels en tremblant.  And my aunt is mortified.  She runs through the room to the toilets dragging
her jewels behind her. 
I have since heard that a
prolapse as described by my mother, the one that happened to her cousin, was of her
cervix.  
This reminds me of other bodily
malformations like hernias.  I’ve not
seen one of these either.  
Again the idea
that your insides slip out of their moorings and appear on the surface of your
skin, like a burst bladder, reminds me of pregnancies, late term when it was
easy to see the imprint of my baby’s foot on the surface of my skin, the round
dome of her head. 
I have dreams where my skin is translucent
and I can see inside my body to the unborn baby squashed inside.  And this can only take place when one is
naked.  Naked on the page.
There is a YouTube series doing the rounds where a woman is interviewed and during conversation the camera stays on
her as she speaks.  She perches on a
stool, against a brick wall backdrop in a well lit room and as the interviewer proceeds
through a series of questions about the woman and her life, her relationship to
herself and her body, the interviewer asks her to take off items of clothing,
one by one. 
By the end of the interview the
woman sits in her underwear.  We do not
see the interviewer. 
There is something strangely
non-sexual about this disrobing.  Something
that puts us in touch with the woman as a whole person, a woman with a body and
mind, not just a sexualised body.  At
least that’s how I experience it.  
A slow
disrobing rather like entering into a meaningful essay where the writer
gradually unfolds ideas, thoughts, images about himself/herself until in the end
we are pared back to basics and somehow have much more than just a naked body,
and not just any body. 
In the YouTube clip so far I have
only seen naked women, and not all of them with ideal bodies. 
There are young bodies and old
bodies and even physically disabled bodies. 
I’ve yet to see a dark skinned body or a fat body or a hairy body or an amputated
body but I imagine there is scope for these and many more. 
One essential ingredient is the
capacity to be articulate in the English language in this instance and a
preparedness to let it all show.    
And finally, I came across this quote
from Anne Patchett: 
‘Forgiveness. The ability to
forgive oneself. Stop here for a few breaths and think about this because it is
the key to making art … I grieve for my own lack of talent and intelligence.
Every. Single. Time. …. This grief of constantly having to face down our own
inadequacies is what keeps people from being writers. Forgiveness, therefore is
key. I can’t write the book I want to write, but I can and will write the book
I am capable of writing. Again and again throughout the course of my life I
will forgive myself.’