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Change and impermanence

  • Posted on August 9, 2015 at 10:25 am

I lay on the beach, a slight warm breeze and a hot sun making my skin aware of its wholeness. Salt water was drying as the sea slowly drew nearer my toes with the tide. I have lived by the sea for twenty years but rarely ventured in. I think I have always balanced its cold unpredictability against my uncertainties of how strong a swimmer I am, and how much I like cold water. I remember still one Easter, at about the age of 13, jumping into an icy river from a snowy bank and losing my breath. It was teachers showing boys what it is to be a man. That isn’t what I learned. Ten years ago I impressed myself by swimming about one kilometre on solo visits to the pool. Impressed, but not convinced.

Today I had been persuaded to get into the sea, and was the first to dive into the waves. And here I was, fully aware of my body and how right it felt, in public, on the beach, in a swimming costume and feeling complete. Another first. I fully understand the Buddhist tenet of impermanence, that everything is in a constant state of flux. I protested too long that I was not changing, and that I was ‘just the same’. In some ways I am, and in many ways I have moved on far from where I was just a year ago. My confidence in the sea was in part due to the fact that I now swim 2.5 km in the pool without feeling exhausted. And also because on our recent holiday, we visited a thermal spa with a number of increasingly hot saunas and an outdoor cold pool. Right now, I am facing things that challenge my boundaries (my ideas of things that can’t change) more easily. Maybe the experience of transition made a lot more seem possible. Maybe the previous feeling of impossibility in ever resolving my inner conflicts made me less willing to create change in other ways.

I stood uncomfortably in a cocktail bar, beat music hammering a tired and aching head, surrounded by glassy-eyed people enjoying the jerky dance that one square metre and a cocktail glass in one hand allows. Was I just too tired? Am I too old? Both may be contributing factors, but I have never felt comfortable in this reality that isn’t really. As yet, that hasn’t changed as yet. I was fascinated by the dramatic hyper-efficient moves of the bar staff as they performed a chemistry more complex than I have ever done. I thought of the money changing hands. I thought of the lives behind the bizarre dress in groups out to celebrate maybe a wedding or a birth. I thought of the empty silent bar tomorrow and a thousand heavy heads earned from the rewards of Monday to Friday in unloved jobs. And how the bar staff feel after many hours every night in the loud darkness and constant flow where you can barely hear the orders. And I knew that for me, as yet, this discomfort has not changed. Maybe I don’t want it to.

This morning is bright and sunny. It will be hot. I watch it from the window, unable to sleep long enough to repair the night. It is also still wedding season. Many weddings featured in our conversations over a birthday dinner, there are family and friends, and my colleague at work. I was wearing my pearl earrings, simply because they matched a non-pearl necklace in colour. I feel they have no value, as I remember buying them from a shared account, to mark 30 years of marriage just weeks before leaving. I hope my daughter will have a sunny day like today in two weeks time, for her wedding. I am wondering who I can ask to take and sneak a few photographs for me. It reminds me that once, I was starting out, with all the hopes of a lifelong commitment, of learning, sharing, developing the expected lifetime of change. To a program, to a happy conclusion, and to passing the same expectations on to the next generation. This was how life was to be. The right kind of change; but I wouldn’t have called it impermanence. No – I think I would have used the word permanence.

I interpret, because I don’t know, that my daughter is angry that her father must always have known what he was going to do. Maybe she feels betrayed and that I lied, and took something essential away from her. Whether that makes her feel that I changed beyond recognition, I also don’t know. But this is a change that she didn’t want to change her life. People give me encouraging words, that one day she will come round. I don’t even know what ‘come round’ means. That she will change her mind, or that she will change? Or that something else will change her?

I wish I could talk to her about change. Marriage will change her. If she has a family of her own, it will change immeasurably. She has no more guarantees of permanence than I had, and it is only by changing that she will be able to find a complete and fulfilling life. She and her husband will change over time, and sometimes change isn’t
what happens to you, but what you decide you can do. I hope they can change together, that they will allow changes in their lives and treat it as bonding rather than dividing. Most of all, I hope she comes to understand how important the response to change can be, that it represents growth, not loss. Maybe one day she can lie on a beach and know that her life changes have made her more than she was. I hope she can go on pushing her boundaries (I’m still not sure about the skydiving!) and letting go. And maybe one day she will stand glassy-eyed in a cocktail bar and know that she finds herself more truly in solitude. Maybe that’s where we may meet again.

Meanwhile, from this sunny place, I want to wish her well. I wish I could, but I cannot even get a message to her that she will accept or read. I cannot change that, but yes, it may also be impermanent.

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White

  • Posted on August 9, 2015 at 9:56 am

that’s the colour it will be.
Or maybe not. I imagine
I imagine how and for want
of colour I choose white.
She is beautiful on her special day
I imagine, and remember mine

white

that was the colour of her dress
then – I remember grey. My grey
wanting colour; grey and white
and the green under an overcast sky.
She was beautiful on our special day
I remember and imagine mine

white

the colour of a clean sheet
for writing the best story of
your life, your future, your love
to read, to share, to tell, to live.
To be beautiful on your special day
an imagine-and-remember time

white

that’s the colour it might be. I
may never know. My name
unprinted on any page, unmade
in being unspoken, unable
to see you beautiful on this day
unrememberable, unimaginably

white

that’s the lie, I imagine
when you are asked about your
father who does not give you away
and you say estranged but not
especially on this beautiful day
and you’ll remember without imagination

white

your small lie, if not your dress and
a page in our lives and a wish
to give you a way—and imagine
how a wedding presence could
still be beautiful on your day
I can’t imagine I won’t remember.

 

2015 © Andie Davidson

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Negative thoughts: what’s in a memory?

  • Posted on April 11, 2015 at 1:23 pm

When cameras shot rolls of film in 24s and 36s, you got envelopes back, with the developed film in cut strips. These (if you were like me) you filed, along with the rubbish prints that never made it to an album. Filed? Well, probably stacked in a box and never looked at again. I did the filing in case I wanted to enlarge or reprint from a negative strip. On a few rare occasions I did. A few. And so it is that I now have a heavy box on my sofa, regurgitating these envelopes, and retrieving a few photos of my children. These are the easy ones. If the birthday cake says ‘7’ on it, then I can tell when it was taken. But the steam train? The castle? The rainbow?

This is a heavy task, and you can well ask why I am doing it. The boxes aren’t so big that they couldn’t find yet another stuff-away place, it’s just that this time I know I shall never squint at the negative strips and make decisions about reprinting. It’s a heavy task, because those plastic strips represent my life, and split it in two. I can’t share the task either. My ex has the family print albums, and at some point I want to borrow them to take digital page-snapshots. But I don’t think just yet. Not now.

Albums wake up memories, and are best shared. (Where was that? Do you remember that house / holiday / event / thing we did?) Suddenly I don’t have anyone I can ask or refer to, let alone enjoy the memory with. Yes, I remember, and from behind these eyes, I think that’s OK. From the packs I’ve already been through, and the few discarded print retrievals, I have had a rich life. What I can’t handle so well are the prints (few) in which I have been captured. Here is a person, a young person (well, younger) who clearly loves their family, their spouse and kids, doing, making, sharing, giving, playing. They look like they were loved, enjoyed and valued too. It was fun.

Wasn’t it?

But who the fuck is young beardy with my family …? What right has he to be in my place? I feel angry, because he looks familiar but I don’t know him. He has stolen my family away. The birthday cakes, the holidays, the Christmases, the homes, gardens, pets. The belonging. The love.

He. Has stolen. My life.

I understand what you are thinking: that they feel I have stolen this person away, and that it’s my fault, and that’s why I no longer have any link to this pile of photographic records. But that isn’t how it feels to me. The problem is young beardy there, because I know he is smiling to the camera and enjoying life, while all the time I know exactly what he is thinking, feeling, doing – when alone. He is hiding, running, scared and not telling. Of course he can’t, can he? Because if he speaks his mind, heart or fears, all these pictures will stop. Bending parents over small children, crouched over books and toys, will stand up, shocked and horrified. Toddlers in the bath will stop giggling. The music will stop, the game will be over, the smiles will fall. So he didn’t.

And so it’s his fault now, that I have a carrier bag of paper wallets and scrap prints, and another of plastic sprocketed strips, on the floor, and half a box on my sofa, and honest confusion in my head. Am I throwing anything away? Untouched negatives, unwanted prints, space takers and careless memory-joggers. And there is nothing I can do about it. I am simply reminded that I never was going to do anything with the negatives when I said ‘you take the albums’, as I walked away from the ruins of the last family home. And that the memories in your head only really mean all they should, when the same memories are in the head of another with whom you can share them with knowing, prompted by these images.

The little boy? He seemed a lot happier when little. He’s had a less easy life than I would ever have wished for him, and now he has sole responsibility for his adult life. I helped launch him into life’s orbit, but he’s up there on his own now, communicating sporadically, and I can do little more as a parent. And anyway, how can it be as the same parent now?

The little girl laughs a lot, and plays with her brother. She really is very cute. And she would hate me even more for saying that. She has grown into an attractive woman, and I imagine that she would never want to see a photo with her and young beardy together, ever again. Well, not if she thinks that parent is still alive and thinking of her. I imagine that it’s more comfortable to put him among the dead ancestors. Either way it’s his fault that we aren’t able to communicate any more. Yes, I helped launch her into orbit too, but like a malfunctioning remote lander, or a satellite without working antennae, she is real and out there but with a location and activity quite unknown to me. If I had been there instead of young beardy, I would still have a daughter.

The mother. The mother is still an attractive woman, still kind, sociable and generous. You can tell she loved young beardy, and I guess he took all the pictures with equal sentiment. Yes, they look good together. Equal. Devoted. Happy. But where was I?

I feel angry. Where am I in these pictures? Why are they mine? Why is this family not mine? Why was it taken away from me? Why can I not remember together any more? Why are my memories in free and disconnected orbit? Why was young beardy the favoured one, the loved parent, the spouse, the partner, the beloved? Why not me? I am left thinking that he is the betrayer, the liar, not me sitting here with the remnants. And yet everyone else would say that I am.

And this is the problem. The little boy is the young man in orbit. The little girl is the soon-to-be married woman, in orbit. The wife, the mother, the attractive divorcee, the successful sociable woman – she too is still fully connected to her past, her family, and together they circle the life they have always had together, the cloud of memories. Every negative makes sense to them, every print is connected to retrievable memories, the memories are shared and bring joy. Young beardy though; he simply does not belong in the picture. He is no longer in orbit, and has been completely ex-communicated from this world of memories. Something is out there, but not recognisably him, not with any means of tuning in.

I have inherited the memories, as if digitised in a back-up drive, but I am not him. Young beardy was a fearful liar, and has gone. And having gone digital, the hyperlinks on all my memory files can be read, but connect to no-one else. I click on the birthday cake. I click in the sand-pit. I click on the old house, the red tractor with the little boy, the trampoline and the girl, the beautiful wife and none of the links works. I just have the picture of each, on its own.

What is a memory when it is unshared?

You know what really hurts the most? Where the grief really lies? It is that I was there. Either in the picture or behind the camera. And in my life I have had an enormous amount of happiness, love and reward. Not one of these pictures reminds me of conflict, or argument, not even disagreement. There is no distrust, aversion or hate, and in not one is there the remotest hint of something hidden. I was – we were – truly happy as people together, and yet it always did hang on one small thing: that how I felt inside had to be kept inside. Love and happiness depended entirely on me playing young beardy, every day.

What the pictures never show is how I felt on my own. They never show what I had to hide. They never showed the pain or fear, anger, hate or frustration. Because I loved my family too much to lose them, for as long as I could. Predictably, that love all evaporated as soon as my authentic self began to tear the fabric of my outer, not-so-young, no-longer-beardy self, completely apart, top to bottom.

But I loved. I truly, deeply loved. And that is why every memory is happiness and hurts, and can no longer be shared with anyone.

There is a small stack of prints left, mainly relating the early years of marriage and early childhood of my two children. And with these are a few more, of one or two people I loved a long time ago, and a few of these remind me of another girl, and the happiest time of my younger life. I feel comforted, because I know that I love; that I go on loving, however difficult life gets, and with love comes that insistent drive of life, of growing, of being. Of becoming.

I am about to take the bags down to the bins in the yard. There is a sense of loss, even if I was never going to refer to the thousands of negatives ever again. What is in a memory, when it is not shared? For me, the capacity to live and to love; the self-assurance that I can do nothing else. Pictures may remind me of loss, but without the negative thoughts, what is printed in my memory is still gratitude that I have shared in a lot of real happiness through love.

My partner and I have a list stuck to the fridge, of things we want to do. At the bottom is says ‘photography day out’.

There will be no negatives this time.

 

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Found images

  • Posted on November 1, 2014 at 12:49 pm

The sepia girl stares expressionless,
shuffled from the pack of brown mottled paper
in crisp white lace dress and Sunday shoes.
She’s young, innocent and a long time ago –
it’s the camera that says she cannot smile.
I imagine her jumping up and running free.

Next a military man, too young to fight,
a smaller square, a formal pose –
maybe the one before leaving on campaign.
He’s innocent too, unsmiling but proud
in uniform undisturbed by war.
I imagine him standing up and marching away.

Now a grey-tone picture of an older man,
and he is grey too, gravity of age, no smile
in suit and tie, tall starched collar, cane.
Nothing in his stiff upper lip betrays his life –
his wars and wages pushed it deep inside.
I imagine him staying there when all have left.

‘That’s your great grandfather’, she called.
‘All of them. Yes, I know – the dress.
They all did. Such pretty boys that
went to war, to colonies, to banks –
trading British manliness for all their lives.
I imagine they forgot their growing days.’

‘I wouldn’t look at those’, she called.
‘Erotica is as old as the camera – or paint!’
The tiny prints scatter on the table,
ivory nudes, draped in studios –
nature for the discerning gentleman.
I notice one is different, lift it up.

There’s a coy sepia smile in this one,
unblemished by time, rarely seen by light.
In elegant gown, jewels, upright, proud –
and innocent too. On this rare occasion
inside out, this one true picture of him.
I imagine he remembered the lacy dress.

 

2012 © Andie Davidson

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Show, not tell

  • Posted on April 18, 2014 at 8:56 am

It’s Easter. Two years ago I dug around the story, and was reminded today by a Facebook image doing the rounds saying that Easter comes from the goddess Ishtar. I knew this to be wrong, because I’d dug around Eostre instead. The poem is here, if you already need a digression!

At the time I felt the poem may be a little obscure, because most people were still just starting to realise that my transition was something real, and my objective in writing poetry was to lead not push. I could write prose, which is why I started this blog, but some people don’t like to be told, because they come head to head with their idea against mine, and that’s uncomfortable. Poetry that just ‘says it’ can be boring. A picture of a witch is just a picture, take it or leave it. But that familiar optical illusion that can switch mentally from being a drawing of an old woman in furs, to a witch’s head, is fascinating.

Sometimes we just can’t take being told

This week I took my poem Unspoken to a workshop, and resisted the temptation to say what it was about. I had dared to read it on local radio last year, but revisiting it, I still felt I needed reassurance and feedback. It still means something real and deep to me, it is still relevant, but it is all ‘show not tell’, and it is precisely about those things you can’t say because they could undo everything in an instant.

This reminded me very much of the whole business of coming out, of learning and speaking my truth. It felt subversive (something I like about poetry, but which felt uncomfortable to live out). I am not alone in the way I behaved, and I suspect this is a feature of many trans* people’s lives when they are working out how to tell the world that things need to change.

So this blog is for people coming out, for their friends and families. You can’t just be told, you need to realise a few things first to prepare you for understanding. For anyone to transition may be to find peace and authenticity, but it is one of the hardest things to do, because you know it won’t be understood.

And this is why we start wearing bits of the ‘wrong’ clothing, jewellery or make-up, begin to soften in our ways, and why things appear in our wardrobes that ‘shouldn’t be there’. For people transitioning female to male, that may be a lot less obvious, rather ‘why don’t you like doing that any more?’ It may not be the best way to do this! But what many of us are trying to do is introduce new ideas about ourselves, new ways of seeing us, new understandings of being the same person looking different, feeling better. You might just se this as weird or even disturbing. It may not be what you want. But what we are trying to show is that we have to change, we want you to notice, and we need you to ask, so we can be open without thrusting it on you. This conversation can lead to shared understanding and travelling forward together, or it may lead to separation and loss. We don’t intend to hurt anyone by coming out. After all, we are only being true to ourselves.

To you it probably seems like deception. We are writing poetry in our lives, and you want the classic story with a happy ending.

Deception was an unfortunate keynote in the divorce petition against me. It was felt necessary, it wasn’t a grudge. But it was there; it was the remembered thing. Shoes were in the wardrobe, and that meant I was going out. Without permission. How embarrassing. My gender dysphoria was an unacceptable behaviour. (Popular link to my page on behaviour, here.) But I remember wanting desperately to be discovered from hints so that a legitimate enquiry could be made, for me to explain. There were things left sometimes accidentally, sometimes deliberately, stuck in a drawer, trapped in wardrobe doors. Nail varnish left on, beads worn with my old clothes, new mannerisms, books and leaflets on trans* issues; all sorts.

My ‘Unspoken’ poem obviously spoke, because my fellow poets in Brighton picked up on the emotions, the situation and the meaning of the poem quite easily. I still feel embarrassed about my hints before coming out. So I wrote another poem:

Show not tell

Was I really learning the art,
poet in the making, risk averse?

A skirt caught in closet doors,
an obvious symbol without reason.

Without rhyme, hoping to scan as
pent… something, I am… bic

in hand, but blocked, right as
blocked, wrong to be spoken.

So the coloured skirt, in draft
as a chill wind stirring flowers

invisible but spoken, my self
trying to show, not tell.

Once again, this is a poem where the sounds of the words and how they join, really matter. Find the words that carry two meanings. It’s just another way of saying that when we communicate in a way that invites enquiry, it can be because we have something to say that we can’t just speak out on. We need your wanting to understand.

So if your spouse, or sibling, or child, or parent or friend is acting strangely, and you know something isn’t right any more, ask what they are trying to show you so that you can see, not so that an explanation and justification can be given and things go ‘back to normal’.

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