Not for me cold tea. I much prefer it hot.

I’m out of whack.  This morning when I
started to make my usual cup of tea I found myself making coffee instead – the
whole coffee shebang, complete with frothy milk.  I usually drink coffee
later in the day and start off my waking hours with Earl Grey tea. 
Before I realised I was making coffee instead
of tea, I had been lost in my thoughts, which is easy to do on a Sunday morning
early before any one else is up, including my husband who likes to leave his
tea until it gets cold.  Not for me, cold tea, I much prefer it
hot. 
Life is feeling too hot at the moment and my
head is full.  I wondered as I fiddled with water from the kettle and milk
from the fridge, why I did not know the reason behind one of my daughters being
up early this morning well before me.  Unheard of on a Sunday
morning.  Perhaps she had told me.  And that’s the thing, I can’t
remember. 
I can’t remember either what was the question
that Helen Garner asked at a conference yesterday, not a writing conference,
mind you, but the famous Freud conference, one in which psychoanalytic ideas
get thrown around. 
I have gone every year for the last several
years to the Freud conference and each time it is a thrilling event, for me at
least, not only the topics discussed, but the audience interaction.  The
audience interaction is the most amazing of all.  It is one of those
conferences where half at least of the audience of around two hundred people
know one another, a small conference by some people’s standards but by the
standards of the psychoanalytic community in Melbourne it is huge. 
I expect Helen Garner was there for ideas that
might filter into her book on the Farquharson case.  The Farquharson
affair is the sad story of a man who killed his three sons on Fathers day
ostensibly as an act of revenge against his estranged wife. He pleaded
innocent, saying that he had lost control of his car through a coughing fit as
he approached the water into which he drove with his sons.  He managed to
free himself, but not the sons.  The jury would not buy his defense.
 Farquharson, as I understand it, after an unsuccessful appeal, is now in
prison. 
I write about it all here dispassionately, but
it has rattled me, all this talk of homicide and madness.  I could write
about it with my academic hat on, but my point here is more related to the
behind the scenes experience of being at such a conference, the shiver of
anxiety I felt in a room filled with people many of whom I know, some of whom
I’m fond of, some with whom I have deeply personal connections, mostly via my
work, and others with whom I have no connection at all, and the odd person – I
stress odd – towards whom I feel downright hostile.
I’m writing this in short hand and leave you
to read between the lines.  It is one of those situations where I cannot
be more specific, though I can be specific about this amazing section of the
conference where the writer, lawyer and psychoanalytically trained professor, Elyn Saks, who
also happens to be schizophrenic, spoke about her life and her wonderful book, The Centre Cannot Hold – also the title of the
conference. 
The topic was unsettling but more so the fact
that it was delivered via satellite link-up.  Elyn Saks sat facing the
screen and what to her must have looked like an audience of bobbing heads and
clapping hands.  She sat at a dark desk which was centred in what looked
like a conference room or large office.  We, the audience, could see only her and the chair in which she sat, the table/desk in front of her, all in dark office colours, against a huge white board on a white wall. 
It must have been evening time for Elyn Saks
at eleven am Melbourne time but she did not seem so much tired as surreal.  That
was until she spoke, at which time she came alive, especially during question
time. 
Hers was a plea to recognise that people with
schizophrenia and other sharply defined mental illness can and do lead
successful lives.  One difficulty among many, seems to be that people with
severe mental illness are often told to lower their expectations: Go get a job
in Safeway or something, once you get over the hurdle of a psychotic episode.  Don’t try to do too much.
When I asked a
question of Elyn Saks during discussion time, I felt this
weird collision of worlds.  I held the microphone in my hands and faced
the screen where she sat.  It was like one gigantic skype session,
only with a audience of two hundred people and Elyn Saks alone at the other
end. 
My question, more a comment dealt with the issue of separation, which she describes in her book.  How unbearable she
had found it when her first therapist in London left her, because she and her
husband were moving elsewhere as I recall.  They had to pry Elyn
loose.  I know this feeling well and she spoke to it well.
A family gathering from my mother’s day, when she was one of the little girls in the front row.  For some weird and surreal reason this photo reminds me of the Freud conference, another gathering of sorts, where the ghosts from the past settle on our shoulders and our futures are as yet unimaginable.   

And here’s a quote from Samuel Beckett, to help you on your way: 
‘You must go
on.
           
I can’t go on.
           
You must go on.
           
I’ll go on. You must say words, as long as there are any – until they find me,
until they say me. (Strange pain, strange sin!) You must go on. Perhaps it’s
done already. Perhaps they have said me already. Perhaps they have carried me
to the threshold of my story, before the door that opens on my story. (That
would surprise me, if it opens.)
           
It will be I? It will be the silence, where I am? I don’t know, I’ll never
know: in the silence you don’t know.
           
You must go on.
           
I can’t go on.
           
I’ll go on.’ 
Before I stop I must acknowledge my good blog friend, Kath Lockett from the Blurb from the burbs blog, and Goofing off in Geneva, who graced me with a Liebster award.  With many thanks, Kath.  

Have you ever been written about?

It’s the oddest sensation to find yourself in the pages of someone else’s story. My friend Carrie Tiffany – I mention her by name because she is a writer and has published a story and therefore presumably does not need to remain anonymous, as so many others do – has written a story in which she includes a brief description of a time we spent together several years ago now.

It’s a sympathetic portrait and there’s nothing in it to feel ashamed about. Carrie had mentioned it to me even as she was writing the story out of concern for my sensitivities. The vignette is merely a side tributary on the river of this wonderful story, which is well worth reading.

Many years ago when I discussed some of my concerns about writing about my siblings and how they might feel, my then writing teacher asked if I’d ever been written about. As if I could only judge the experience through my own experience.

It’s the oddest sensation. That’s me there on the page, the ‘Liz’ a peripheral character, who in Carrie’s story spells her name with ‘z’ and not an ‘s’, that’s me, and yet it’s not me at all. I’ve been fictionalised.

It’s a me from the past, snap frozen in time, a tiny cameo of my husband and me, one winters day, I say winter because if it was written six months after my husband’s heart attack, then it must have been the wintertime, but it could just have easily happened in the summer.

I write about this experience here now because I am pondering the issue of finding yourself described in someone else’s pages and how unsettling this can be, however much we know it to be fictionalised. I’m also wondering about the degree to which all creative writing however much it is described as non-fiction and allegedly therefore based on the so-called truth is in fact a fiction.

The minor characters, Liz and Bob, in Carrie’s story are fictional characters however much based on real life characters. We know this and yet we tend to argue in polarities. Either it’s true – non-fiction, or it’s not – and therefore its fiction.

It can’t be both, and yet it is both.

And here I intersperse a photo break, a poorly captured image of my husband and me on our wedding day, to add to Carrie’s image of Liz and Bob well before any of this happened.

I enjoy featuring in Carrie’s story because it gives me a different perspective of myself. Is that how I look/looked to her then. She ascribes such kind motives to me. It’s true I had wanted to reassure her in some way about her heart, as I believe had my husband, but I think I am not as benign as Carrie’s Liz comes across.

Even the fact that I write about this now makes me wonder whether it’s not a sort of retaliation. You write about me and I’ll write about you. But now I write about a real person who is also a fictional character and quake inside because Carrie reads my blog.

I’m giving a talk in a couple of weeks on the topic of ‘Auto/biography’: an excess of fiction or in excess of it? As chance would have it, and chance/serendipity is such a wonderful companion, my copy of William Michaelian’s, A Listening Thing, arrived during the week.

I opened the first pages and found these wonderful words in his preface. ‘We can’t escape the fact that life is fiction, and fiction is life – a point upon which science and the practical mind are tragically confused. The practical mind says, ‘That which is imagined does not really exist’ and science which wears matching socks even on weekends, trots out any number of laws to support this bland assumption. But laws are yesterday’s news, placeholders until something even more sensible comes along. Then we laugh at the old laws, just as if an alien race had made them, a race comprised of beings not nearly as smart as we – while, thanks to laws and our adherence to them, and worship of them, we have forgotten more of value than we will ever know, which is to say an arrogant, universal thimbleful.’’

So William too writes about a fictional character, Stephen Monroe, who is also himself, the author and narrator, William Michaelian, but at the same time not himself.

If this stuff ties you up in knots I’m not surprised. I find myself twisting over myself in trying to find a way of describing something that seems so intangible.

Why does it make us flinch to be written about? According to Helen Garner, ‘it’s not so much the revelation of fact, as the feeling that somebody else is telling your story, and stating something without the justifying tone that you use yourself…You feel stripped and bare and you can’t say “Oh well that’s just me,” in that cosy way that one does.’

When someone writes about you, they use their own words, their own impressions. They look at you from the outside, whereas you can only see yourself from the inside. You can only imagine how you might come across.

When I read about myself on the page, it’s like looking into one of those distorted mirrors you find at a circus. There’s one in the children’s section at the Melbourne Museum. I went there during the week with my grandson and we looked at ourselves reflected there. Three mirrors flowed down the wall, the one flat, the other convex, and the third concave.

In the two distorted mirrors we saw ourselves, stunted and deformed, too tall in the neck, too short in the torso, and as we giggled and danced in front of our images, they became even more deformed.

We came back three times. To be able to contort our self image into so many odd shapes and sizes gave us great pleasure, the same pleasure I find when I or someone else uses my form and tries to shape me into something that is not quite how I see myself from the inside.

But even myself inside feels like that person in the mirror, too long here, too wide there, a leery grin here, eyes too big in my head there, a caricature of myself, whoever she is, in all her many manifestations.

I came into the kitchen just now, early morning and no one else is awake as yet, and found one of the cats chewing on the remains of what looked to be a mouse. I approached with the intention of retrieving the mouse. For some reason I do not enjoy the sight or sound of a cat munching on mice bones.

The cat let our a low growl. He wasn’t giving up his prey so easily. In the end I left him to it, but wondered why with full bowls of perfectly produced shop bought cat food, the stuff the cats generally prefer, the stuff that comes in tins from the supermarket, should this cat prefer his own caught mouse, disgusting bones and all?

I’m not a cat. I cannot say, but perhaps it’s the same as in the writing process. We land on something and cannot let it go. We gnaw away at it or it gnaws away at us and will not let us be.

Have you ever been written about? How was it for you? Disarming, disturbing, delightful? Or something else altogether? Anything’s possible.