Tantrums

I've recently developed this exercise to combat creative self-doubt. It's only a small act that takes place in my tatty magenta-coloured Claire Fontaine A6 cahier. I sit there and with Winston Churchill's Parker pen, I write the heading: What's the Nishi? It's Japanese Cockney rhyming slang my friends and I had made up: Nishinagahori / Story / What's the Nishi? We say it to each other all the time now as a kind of nifty in-joke salutation and in this context, I use it to drain out every fret and anxiety.

It's been hard, embarking on the Consequential Lyrics project on my own. I haven't had any sort of creative consultant on hand, someone to shriek and shake my arm enthusiastically during late night conversations. I've struggled in those moments when I've been compelled to pitch what it encompasses exactly. The premise is simple and intimate, it's both personal and universal. It's been hard but I've risen to the challenge of doing what the project actually requires: faithfully describing the consequence of these songs, sensitively describing the meanings I've assigned to them (without embarrassing anyone too much or getting sued).

In my practice of writing What's the Nishi?, I feel as if I'm sitting down to talk to a hysterical seven-year-old, one that has been throwing a tantrum for no discernible reason. It's important to to listen that raging child, to address them, to allow them to safely express their every angst and plague. At some point, there comes a moment when the anger recedes and the tears stop and there's no longer any rational basis for that anxiety. It's plain to see, in the matching magneta-coloured cursive print, that each of these anxieties can be broken down and addressed in a perfectly rational way.

There's another heading that comes after What's the Nishi?, I write in big letters: How to Progress? Under that heading, I try to combat those anxieties by being kind to myself. I try to think up practical solutions as to how to get over it, whether it be a practical obstacle or an emotional concern. I consider everything one at a time and I break it all down, thinking about what can I do today, this hour, this minute. I congratulate myself on how far I've come, the great amount of work I've already done and I acknowledge how good it will feel once it's actually completed.

I realised some time ago how much I've relied on other people for that creative confidence, how much I drew upon those shrieks and arm shakes. I thought compliments could fill me. I thought if I had enough of them, I would suddenly believe that my work had value. The problem was that I'd neither accept compliments or if I did, they would fade quickly. I never had enough to combat the self-doubt I harboured, but at the same time, I never wanted to quit. I just thought I was doomed to anguish: never believing, never accepting, always doubting.

I wrote a note for my desk:

Consequential Lyrics is worthy of your time and concentration. It is unique and it will encourage others to share something beautiful and important. A compliment won't make you feel better. Completion will.

I realised that's what I need to do to feel better, to calm the hysterics. I need to follow through, I need to complete this. I have forever dreamt of a creative compatriot, a Marr to my Morrissey (or even the other way around) and I wish I could have pulled this off with someone by my side, but I just can't. I just have to sit and push on through alone. I need to consistently convince myself that there is value in this. Whenever I begin to feel that hysterical child pipe up, I know that it's alright. I'll always have time for her, I'll always stop, listen and ask: What's the Nishi?

Compliments

Missy Laur said something curious to me the other day. Compliments are like advice, we only tend to accept them from people who don't know us very well. It was a timely bit of insight and so thought-provoking, too. At that point, I had been contemplating the nature and the function of compliments. How desperately they are craved and how difficult they are to accept.

I once thought I was simply echoing the values of my family. On the face of it, I would consider humility to be of paramount importance to us, but then I would think of my brother and his sickening bouts of narcissism. He thought he was absolutely amazing at everything, so smart, so handsome and talented to boot. Yet he would follow me from room to room, begging me for a compliment. Any compliment at all.

My instinctive response to a compliment is to swear. I've never thought to rationalise why I'm compelled to react like that. Do I feel like they're lying to me? Do I feel like they're attempting to combat my self-loathing tendencies? Perhaps I simply never learned how to gracefully accept kind words. I never learned how to use them, to rely upon them in moments of doubt.

I've slowly trained myself to respond in a more congenial way, to smile and say thank you very much. I often tell myself out loud to respond gracefully. It is a purposeful cue, knowing how inclined I am to aggressively argue them down. Most kind words get lost that way, after all, it takes such energy to act appropriately, to act in such a way that would suggest that I agree (even when I don't).

I'm uncertain how it happened, but things have moved on a little. I suspect I must have been subjected to thousands of these things and they snap back at me occasionally: a friend saying I cannot wait until you write a novel, another describing my designer freckles, a lover referring to my touch. Do I believe in those words now? Does it make me a narcissist? An egotist?

You sat across from me, not too long ago, at a table at China Bar. I'm going to give you some advice. You said. I was alarmed. Am I not going to like this? You smirked a little. That depends. Don't doubt yourself so much. You elaborated a little, referring in part to my shyness, referring in part to my detailed disclosure of my desire to exist solely as a brain in a jar.

It's just as Missy Laur said. Compliments are like advice, we only tend to accept them from people who don't know us very well. It takes me a couple of moments to recall your compliment, maybe even longer than that. I deliberately try to get used to the prickly awkwardness of its sentiment. This is what it must feel like to believe you're alright.

Cracks

My Dad has this fear about Studley Park Road. Whether it be turning right into it or simply walking across it to reach the bus stop, the threat of getting rumbled by traffic gives my Dad the heebee-jeebees. It's gotten to the point where I'm challenged about it whenever I leave the house and it's always the same conversation. Don't run across Studley Park Road. Walk down to the lights. You're wearing black. Because I'm always wearing black, I always ask why wearing black is even relevant. Cars can't see you if you're wearing black. I always insist that black is not a cloak of invisibility. He claims it is... and then I leave the house, walk up the street and run across Studley Park Road.

On this recent occasion, as much as I wanted to, I could not run across Studley Park Road. It was peak hour. I stood tentatively by the gutter, waiting for a gap in traffic that could only be described as gapless. It just wasn't happening. After a couple of moments, I followed my Dad's advice and walked down to the lights, activating my RunKeeper app to ensure no distance went unrecorded. It was warm and I was happy, having spent the afternoon laughing with my writing friends. I wore a pink and cream dress and marvelled at my punctuality, it never used to be like me to make good time. It was half the reason I always chose to run for the bus.

Halfway down to the lights, I stopped, having spotted something in the concrete. It was neither a name or a paw print but a fragment of a poem by W.B. Yeats, recorded in slashed capital letters in the wet concrete:


We had fed the heart on fantasies,
The heart's grown brutal from the fare - W.B. Yeats.

At risk of missing my bus entirely, I felt compelled to read the faint markings over and over. I quickly decided to get out my phone to take a photograph of it, to later examine on my sunset ride to the city. I couldn't help but smile when I marvelled at its surreal relevance, how it seemed to touch upon the debilitating of side-effects of fantasy, of possibility and hope. It's strange when you realise that the chasm between what you want and what you can have is not really all that great. The prospect of having all you ever imagined becomes intoxicating. Dreaming of how it could all fall apart becomes exhausting.

I forwarded the image to my writing friends that night. My friend Anne replied with the full 1922 poem, The Stare's Nest by my Window. She wrote, I wondered what Yeats was about, thought it could have something to do with the occupation of Ireland by the English, but it seems that it was about the civil war in 1922, after Michael Collins signed a treaty with England for home rule, which ended up with the provence of Ulster staying in English hands... It all started coming back, Michael Collins and Éamon de Valera. It all seemed so bitter, bloody and brutal and so totally removed from Studley Park.

I wonder who wrote it. I wonder what they could have meant by it.

The Hypocritical Headband

Missy Laur and I would often preface advice with the expression, "please excuse the hypocritical headband". It was a reference to the large 1960s headbands I used to wear. Like the headband, the hypocrisy of the scenario was so dramatic that it could never be avoided and instead of being sensible and attempting to take our own advice, we would use the hypocritical headband as a mechanism to deliver lectures, guidance and comfort.

We wore the headband in good faith, we did. We were deathly aware of our mutual propensity to obsess, in spite of our reassurances that there would come a time when we wouldn't. She told me repeatedly that things would get better and after a very long time, they actually did. I would reassure others too, sitting across from dear friends at Sousou. I would tell them that no matter how painful it is now, everything will eventually numb out in time.

Those reassurances now seem so wildly insincere, so desperately hypocritical. I can't believe I ever forgot how painful it could be, but then I find it hard to believe I ever managed to endure it all before. I know on some fundamental level that it will be their words, the words of Missy Laur and Louise Sucre that will ultimately cure me. I have no idea what words could make for any immediate cure but I will try and listen. I will try and get better.