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.

Ophelia

It was some years ago when he decided he would call me Ophelia. He was delighted at the re-christening, shouting its significance over the loud music to our mutual friends: It's cockney-rhyming slang, you see: Eleanor, Elisnore, Hamlet, Ophelia. Little did he know I had chosen my own nickname for him, not that he ever knew it. For the purposes of my head and my phone he was John Lennon Guy and it was a name so committed that even now, I need to momentarily concentrate before I say his real name out loud.

There are little fragments of that friendship that sometimes return to me. How he would purposefully (yet secretly) request the Kinks so we could dance together or send me a text from across the room: Sorry Ophelia, I didn't recognise you with your new haircut. Wow, you look beautiful... There's a lot to be said for those youthful escapades when the most mild-mannered flirtation would be enough. Nights when you would spend the whole car ride home thinking of what it felt like when he kissed you goodbye on your eyelashes.

The modern-day encounter would be rare, but no less enjoyable. I'd order a mocha and listen, captivated as he'd teach me how psychiatrists establish credibility with their patients or else, how to land a Tigermoth aircraft. It would be rare that I would be able to teach him anything, however there was one occasion when I taught him about lenticular lenses and the meaning of the word, threnody. I also told him the story of Pennies, at which point he handed over a threepence from 1921, a coin I've now pinned to my wall in the traditional Plague style.

I most recently came across an email where I described our first meeting to a friend. I was thrilled that I had somehow managed to forget the drama that transpired. You had a brother?! I texted to him, alarmed. He remembered how it all went down and again, I marvelled in how incredibly unusual it was, to forget that what someone else had remembered. There is always a possibility that more moments have been lost, but I don't believe there is much more to recall that I can't recall already.

I suppose that I just like the innocence of those times. I like the idea of that Ophelia girl, especially now I don't think I'll ever be her again.

Accuracy

I'll admit, I harbour this unattractive tendency to remember everything. If that wasn't unattractive enough, I strive to remember everything more accurately than you do. I prefer to have that sort of information on hand, for if I'm ever challenged about the nature of a glance, gesture or suggestion, I can trump you and I will win. Because I can remember and you can't.

There would have been a time when I would have been upset by this notion. I would have been harpooned by the thought that it wasn't important enough for you to remember, whatever it was exactly. While I had endlessly rhapsodised about various plagues, you'd struggle to recall the scarcest detail of my existence. Once I would have been offended, now I don't particularly care.

It would have been fine except I recently realised that I'd convinced myself of personal truths that were fraught with factual defects. I don't know how but lust and intent became whitewashed with years of coffee-drinking, journal-writing and story-telling. I only realised when you admitted to remembering something: "Come on Elle, you know it was never like that!"

I've never had to account for the veracity of those personal truths, my stories on the Plague or otherwise. Even as I attempt to craft and create and honour those moments of consequence, even as I faithfully recall any number of phantom glances and gestures, the moral of any given memory is diluted by the fact that I refuse to face the truth. I refuse to admit what it was and why it hurt so much when I lost it.

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.

Amber

I don't abandon much, but when I was young, I abandoned your songs. It was an unusual situation, in that there was a time when I'd loved those songs more than anything else. I only ever had access to early demo versions and live rips, much to the exclusion of those later, official incarnations. I just stopped. I stopped listening. I stopped reinforcing ideas of a fondly-held consequence. It was easier to convince myself that you'd produced nothing else and there was, quite simply, nothing to go back to.

I was relieved that I never had to describe the circumstances surrounding that musical abandonment. I never thought I would have to, until I actually had to explain it to you. "But there's that prospect of finding a new connection, I think you might even like some of the new b-sides," you'd implore to my better judgement. I'd stutter, unable to offer a coherent explanation as to why I just can't. "People will wonder why, they'll wonder what has changed." He'd retort derisively, "But it's not about them."

I could listen now. I could listen and become casually acquainted with how it all went down. There's even that strange viability that I could embrace the life I was once compelled to reject. It's much easier not to listen, though. It's much easier to live unaware and unmoved, preserving that unacknowledged consequence, now held fast in amber. Yet, I can't help but neg you when you challenge me to give it a chance, "Maybe if you write something that exactly replicates your first demo, I might consider it. I might consider going back and doing it all over again."


Nagakin

Translations

I was so alarmed when he said it to me, I was convinced that it was a mistranslation from the Dutch: "It takes a real man to hurt a woman." It was such a curious expression that I rushed to write it down, not wanting to forget it. When I asked what he meant by that, he went on to explain that it takes courage for a man to take responsibility for the pain he's caused. I said I agree absolutely, although he probably could have expressed it in a slightly different way.

I like to think of myself as an honourary man. I insist that the men around me treat me as such. I encourage them to confide, discuss and describe the way they treat women. I do not take particular offence when they generate an endless stream of seemingly sexist synonyms, ranging from the fat and the stupid to the needy and hysterical. I do not feel particular disappointment when they detail the hollow physicality of their latest conquest. It is a compliment that I know, it is a compliment that they tell me.

A friend often pleads with me to be careful with such confidences, she tries to convince me that knowing such truths will ultimately damage the way I perceive men. I always laugh, because there's no other way to react to such a suggestion. For me, it seems counter-intuitive to fly the flag for feminism when I'm privy to such discussions. Instead, I listen. I try to understand their motivations and justifications. I try to find the source of their cruelty and thoughtlessness.

When I was younger, my brother predicted that I would marry a wife-beater. I never asked why, I had always assumed it had something to do with his obsessive compulsion to punish, bully and control myself and my mother. For this reason, I'm unsure how we ever became friends, but we did for a short time. I was 15 and we would talk for hours and hours, all while listening to early Depeche Mode on our all-night drives to Nunawading. I once asked him if he ever regretted how he treated us: "I've never hurt either of you. I've never done anything wrong..."

Whenever I recall his brutality, I'm reminded of that moment. I'm reminded of that flippant, completely remorseless sense of entitlement. For whatever reason, he felt like he needed to do what he did.

He and I have not spoken in three years, although I find myself silently counting the years over and over again, as if I've made some huge mistake. I don't recall any words during that last interaction, I just recall the ferociousness with which he spat on me. I'm filled with curious feelings of disgust and self-satisfaction when he tells my mother that he misses my emails. He tells her that he thinks I write better than anyone else in the family. I know that I'll never speak to him again, in the same way that I know that I'll never forgive him.

Perhaps it makes sense then, that I should look for that illusive assumption of responsibility in the uncensored accounts of male friends and heartbreakers. Sure, I will always yearn for a sincere statement of remorse, I will always long for an explanation. The thing is that I know how they speak about us. I know how they think about us. It is a compliment that I know, it is a compliment that they tell me.

Persuasion

There's this moment that keeps winding itself round my head and throat. A moment that occurred during that last conversation, where I had described the terms of disengagement. For a moment that keeps returning to me, I can't remember exactly what I said. Something like that he'd go back to her and our existence would be wiped. "And what are you supposed to do?" He'd ask me. "Accept it. What else can I do?"

I wonder if I ever could have exploited the luxury of persuasion, as she did. His question makes me wonder if I could have fought, if I could have won. Is it possible to make someone love you again? Is it really possible to win someone back in some grand cinematic gesture? It's a scenario I'd never really imagined for myself, but then I don't believe that I can convince anyone to love me.

I keep seeing all those successful romantic appeals, not in life but in art. There are painted murals, long-haul flights, declarations over the PA and grand-stand karaoke. It indulges that impossible fantasy that you can do something. It's another world where words have this peculiar currency. You can say something heartfelt and persuasive and it'd change the course of your entire life.

There is this hopelessness, living in the knowledge that there was nothing I could have said or done. I imagine that in this flippant question, there was this unexplored possibility and I could have had the life that I was promised. I tend to forget the persuasiveness of the words I had used. I tend to forget how it became apparent that he had never bothered to read any of those carefully crafted appeals.

Eros

Andrew would always say that if you stood at Piccadilly Circus for long enough, you would eventually run into everybody. I imagine it from time to time, standing among the crowds, vying for a space among those steps, looking up at the flashing lights above. After waiting years (potentially), you would eventually see them.

If I could lead a dozen lives at once, I'd spend one life waiting at Piccadilly Circus, sitting by the statue of Eros. There would be that phantom prospect of a glance or even a weak smile from a friend, now long lost. There would be some kind of acknowledgement that something once existed, in one life or another.

Spycam

Swoon

There are times when I get terribly caught up with Tumblr and I spend ages, scrolling further and further down the page to see more and more images. I marvel at the cohesiveness, when it comes to sites especially devoted to art, fashion and design. I marvel at the obscurity, when it comes to rare photographs of musicians I've loved for too long. For some reason, I carry this presumption that I've seen every photograph of Freddie Mercury ever shot and to see something new still enlivens the fangirl in me. It thrills me to think there is still more to see.

I came across a Tumblr called My Fangirl Problems, a depository where fangirls create faux memes to articulate the habits and anxieties arising from their musical obsession. Although much of it relates to the tastes of the next generation (think, Bieber or One Direction), I have to smile when I read it. I love to relate to the problematic problem of loving them far too much. When I read those posts, I'm back there, in Year 8, with a locker full of Queen clippings, thinking: Why did I have to choose the most popular band in the world to fall in love with?

What's fascinating is the varying tones of their frustration: ... when you see them kiss fans in photos, ... when you try to convince everyone that age is just a number, ... when your favourite fanfic never gets updated. Sure, some of it relates to the impossibility of a genuine romantic interaction, but much of it relates to time, money or technological restraints. I saved the JPG of the problem that stung me most: ... when you can't find anyone to talk to about them because no one you know likes them as much as you do.

I want to assure them. One day, you will have the money to go see them in concert. One day, you won't have school on their birthday. One day, you will find someone who totally gets you. But even then, I possess that very knowing pomposity that would irk any phantom fangirl. I never would have accepted such assurances, because much like everyone else, no matter what conversations I had or connections I made, no one else seemed to understand what it meant to harbour that intense breed of love that was both very real and very made-up.

I still feel it. I derive all kinds of lessons from his music and character and in this, my twentieth year of fangirlism. I can say with a high degree of certainty that I'll love him forever. For now, however, the frustrations of the hormonal fangirl have lessened and I no longer have to think of that loneliness that one stung me. It's more than a serendipitous sequence of chance connections, having conversations that send the heart racing and the mind reeling. It's that odd understanding that no matter what the group or musician, when it comes to that intense breed of musical love, the feelings are vastly synonymous.

I see now that the legacy and the frustration of my fangirlism does not necessarily exist in that search for connection. It's that endless process of working out the parameters of my passion, analysing it and trying to work out how they managed to secure such an unbelievably high degree of loyalty and fascination.

100 Holland Road

Wax

I brought in the new year alone. I didn't intend it to be that way, but it felt appropriate somehow. As I stood by the upstairs window and watched the fireworks over Northcote, I don't think I could have had anyone else there.

With any other year, I'd take myself aside moments after midnight to read a letter I'd written a year before. There'd be lengthy summaries, paired with annoyingly simple and familiar moral overtures.

As I sat alone, I recalled those instances where I was forced to reveal the contents of my yearly letter, to Gav in a gutter in China Town and to Min in a kitchen in South Yarra. In both instances, I warned of its intensity but they insisted I proceed.

They were both disgusted, but for very different reasons. Gav came up with the infamously ironic (and the fucking stupid) statement: "you have ephemeral attitude towards love". Min, predictably, dismissed my candour and depressive tendencies.

I realised it quickly, after I managed to pull the pages apart that were stuck fast together with silver sealing wax. A year ago, I wrote with the same idiotic naïveté that I displayed in revealing my words to those I had loved so much.

I don't think I'd have ever realised, in my ten years of doing this, that perhaps these letters weren't about resolutions for the new year. They were about an ideal: someone interested enough to excuse themselves from a party, to follow me out to calmly listen to private thoughts.

Everything is different now, everything is more different than I could've ever imagined. I no longer hope for connection, I no longer hold that desire to glorify passing moments. I hope for nothing, except for the ability to quash that pathetic propensity to talk and to trust.

Disappointments Diary 2013