Everybody has that friend who defies all previously held notions of “effortlessly cool.” You know, the one who wakes up in the morning, picks out any of the perfectly classic numbers hanging in her closet and spends a little under five minutes preparing her face for the world. Everything just clicks. They just seem to get things. For me, that friend is Adrienne, the bold-browed beauty smiling coyly below. We’ve been best friends going on a decade, which is half of my life thus far (winning at friendship, to put it bluntly), and she only embodies this stereotype more and more with each year. Should I be resentful? Hell, no, because she imparts her wisdom and unbridled inspiration on me every time I see her. This past weekend, though, my whole idea of my best friend just catapulted out of an ornate ceiling with stringed lights draped from an archway. In short, I visited her house and quickly died, went to the heaven reserved for vintage wares, crisp white walls, fireplaces-in-bedrooms, and historic architecture, and then came back to go for waffles. Her apartment almost brought tears to my eyes. So what kind of girl would I be if I didn’t share with you a home so perfect that I almost cried? Not an effortlessly cool one, let’s say that.
This morning I read a piece over at Brain Pickings, and my innards are still stirring. Mostly because I feel as though it was directed right at me, and I was about as unprepared as a deer prancing across the highway in the middle of the night (sorry for the visual – deer in headlights is about as apt an image I have for myself right now). Maria Popova, the writer (or perhaps literary waitress) who served me a side of wisdom, reality, and unexpected saudade this morning to accompany my comparably innocent looking slices of french toast, couldn’t have possibly known that I’ve been bent on coming to terms with death lately. Death has a split-personality disorder, in my mind. It keeps showing up, right in front of me, slurring the words that one day everything that I love is going to go down with me, into some sort of intangible abyss of rotting organs (sorry). Or, there it is, legs crossed with a rather serene look about it, nodding over to me that spending time with death isn’t so bad. By the time your meeting rolls around, you’ll be ready for the kind of contemplative discourse I pose, she promises. Surrendering the remainder of your time won’t be so bad, especially if you believe that your lover, parents, and siblings are sitting cross legged right behind me. I have yet to figure out who she (he? it?) really is.
Meghan Daum introduced this line of thinking to me, with excerpts from her collection of personal essays, The Unspeakable: And Other Subjects of Discussion. She elucidates how our minds, our past and future selves, adapt to aging, and how we have this tendency to constantly reshape our opinion of our past selves so that we are on “nodding terms” with them. After all, our past self is always a part of us, whether we like it or not, and it’s much easier to enjoy this past self than wish to be rid of it. She also confronts us with the idea that we may never attain that idealized older version of ourselves. In fact, it doesn’t seem to be just an idea – it seems an inevitable reality. Just as she says we romanticize our past selves, I think it’s safe to say that this older self we dream up in so many different ways, dependent upon the day, hour, situation, is romanticized to the same scale, if not more – the limits to the potential of this older self are unbounding. I could fill up whole novels on just one route my life could go; can you imagine how many trees I’d kill if I contemplated each and every route with just as much fervency?
Please, dig your teeth into a round of Popova’s concise, reflective review on Daum’s The Unspeakable. Your Tuesday morning deserves a little introspection; we’re hardly in that state enough. Let’s become comfortable in it together.
How We Become Who We Are: Meghan Daum on Nostalgia, Aging, and Why We Romanticize Our Imperfect Younger Selves
by Maria Popova
“Life is mostly an exercise in being something other than what we used to be while remaining fundamentally—and sometimes maddeningly—who we are.”
In her mind-bending meditation on what makes you and your young self the same person despite a lifetime of changes, philosopher Rebecca Goldstein pondered the philosophical conundrum of our “integrity of identity that persists over time, undergoing changes and yet still continuing to be.” Psychologists, meanwhile, have demonstrated that we’re woefully flawed at predicting the priorities of our future selves. Even so, Joan Didion was right to counsel in her classic essay on keeping a notebook that “we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not.” But the most confounding thing about our relationship with the evolution of our own selves is that we tend to romanticize our youth even if we don’t find the versions of ourselves that inhabited it “attractive company” at all.
This conundrum is one of the many human perplexities Meghan Daum, one of the finest essayists of our time, explores in The Unspeakable: And Other Subjects of Discussion (public library | IndieBound) — a magnificent collection of personal essays examining “the tension between primal reactions and public decorum” and aiming at “a larger discussion about the way human experiences too often come with preassigned emotional responses,” driven by a valiant effort to unbridle those messy, complex experiences from the simplistic templates with which we address them, both privately and publicly.
In the introduction, Daum echoes Zadie Smith’s piercing critique of our platitudes-paved road to self-actualization and laments the hijacking of our darker, more disquieting emotions by the happiness industrial complex:
For all the lip service we pay to “getting real,” we remain a culture whose discourse is largely rooted in platitudes. We are told — and in turn tell others — that illness and suffering isn’t a ruthless injustice, but a journey of hope. Finding disappointment in places where we’re supposed to find joy isn’t a sign of having different priorities as much as having an insufficiently healthy outlook. We love redemption stories and silver linings. We believe in overcoming adversity, in putting the past behind us, in everyday miracles. We like the idea that everything happens for a reason. When confronted with the suggestion that life is random or that suffering is not always transcendent we’re apt to not only accuse the suggester of rudeness but also pity him for his negative worldview. To reject sentimentality, or even question it, isn’t just uncivilized, it’s practically un-American.
In one of the collection’s most pause-giving essays, titled “Not What It Used to Be,” Daum reflects on the conflicted, paradoxical nostalgia we tend to place on our youth — nostalgia woven of an openness of longing, as the infinite possibilities of life stretch ahead, but also of many misplaced longings for the wrong things, the dangerous things, the dangerously safe things. Daum writes:
Most of us have unconscious disbeliefs about our lives, facts that we accept at face value but that still cause us to gasp just a little when they pass through our minds at certain angles. Mine are these: that my mother is dead, that the Vatican actually had it in itself to select a pope like Pope Francis, and that I am now older than the characters onthirtysomething. That last one is especially upending. How is it that the people who were, for me, the very embodiment of adulthood, who, with their dinner parties and marital spats and career angst represented the place in life I’d like to get to but surely never will, are on average six to eight years my junior? How did I get to be middle-aged without actually growing up?
In a sentiment that calls to mind Maya Angelou’s unforgettable words on growing up, Daum adds:
Luckily, even some of the most confounding questions have soothingly prosaic answers. On the subject of growing up, or feeling that you have succeeded in doing so, I’m pretty sure the consensus is that it’s an illusion. Probably no one ever really feels grown-up, except for certain high school math teachers or members of Congress. I suspect that most members of AARP go around feeling in many ways just as confused and fraudulent as most middle school students. You might even be able to make a case that not feeling grown-up is a sign that you actually are, much as worrying that you’re crazy supposedly means you’re not.
Daum’s astonishment is especially resonant for those of us who compounded our dissatisfying college experience with the culturally inflicted guilt of feeling like not finding satisfaction there was a profound personal failure:
I managed to have such a mediocre time at a place that is pretty much custom designed for delivering the best years of your life. I’d like to say that I wasn’t the same person back then that I later became and now am. But the truth is that I was the exact same person. I was more myself then than at any other time in my life. I was an extreme version of myself. Everything I’ve always felt I felt more intensely. Everything I’ve always wanted, I wanted more. Everything I currently dislike, I downright hated back then. People who think I’m judgmental, impatient, and obsessed with real estate now should have seen me in college. I was bored by many of my classmates and irked by the contrived mischief and floundering sexual intrigues of dormitory life. I couldn’t wait to get out and rent my own apartment, preferably one in a grand Edwardian building on the Upper West Side of Manhattan. In that sense, I guess my college experience was just as intense as my husband’s. I just view that intensity negatively rather than nostalgically, which perhaps is its own form of nostalgia.
To illuminate that curious misplacing of nostalgia, Daum invokes an imaginary encounter between her present self and her older self — the concept behind an emboldening old favorite of letters by luminaries to their younger selves — in which Older Self ambushes Younger Self “like a goon sent in to settle a debt”:
At first, Younger Self is frightened and irritated (Older Self speaks harshly to her) but a feeling of calm quickly sets in over the encounter. Younger Self sits there rapt, as though receiving the wisdom of Yoda or of some musician she idolizes, such as Joni Mitchell. But Older Self is no Yoda. Older Self is stern and sharp. Older Self has adopted the emphatic, no-nonsense speaking style of formidable women with whom she worked in countless New York City offices before deciding she never again wanted to work anywhere but her own home (a place where, over the years, she has lost a certain amount of people skills and has been known to begin conversations as though slamming a cleaver into a side of raw beef). Older Self begins her sentences with “Listen” and “Look.” She says, “Listen, what you’re into right now isn’t working for you.” She says, “Look, do yourself a favor and get out of this situation right now. All of it. The whole situation. Leave this college. Forget about this boy you’re sleeping with but not actually dating. Stop pretending you did the reading for your Chaucer seminar when you didn’t and never will.”
To which Younger Self will ask, “Okay, then what should I do?” And of course Older Self has no answer, because Older Self did not leave the college, did not drop the boy, did not stop pretending to have read Chaucer. And the cumulative effect of all those failures (or missed opportunities, blown chances, fuckups, whatever) is sitting right here, administering a tongue-lashing to her younger self (which is to say herself) about actions or inactions that were never going to be anything other than what they were. And at that point the younger and older selves merge into some kind of floating blob of unfortunate yet inevitable life choices, at which point I stop the little game and nudge my mind back into real time and try to think about other things, such as what I might have for dinner that night or what might happen when I die. Such is the pendulum of my post-forty thoughts.
And yet the most paradoxical, most endearingly human thing is that most of us invariably fail to see our Younger Self as part of that amalgamated blob and instead romanticize it as the counterpoint to those “unfortunate yet inevitable life choices,” as our highest potentiality at a point before crumbling into the reality of necessary concessions and mediocrities. For all its cluelessness, for all its complicity in the making of our present dissatisfactions, we continue to worship youth — especially our own.
Reflecting on the disorienting fact — because that fact is always disorienting to those of whom it becomes factual — that nothing she ever does will ever be preceded by the word young again, Daum writes:
Any traces of precocity I ever had are long forgotten. I am not and will never again be a young writer, a young homeowner, a young teacher. I was never a young wife. The only thing I could do now for which my youth would be a truly notable feature would be to die. If I died now, I’d die young. Everything else, I’m doing middle-aged.
I am nostalgic for my twenties (most of them, anyway; twenty and twenty-one were squandered at college; twenty-four was kind of a wash, too) but I can tell you for sure that they weren’t as great as I now crack them up to be. I was always broke, I was often lonely, and I had some really terrible clothes. But my life was shiny and unblemished. Everything was ahead of me. I walked around with an abiding feeling that, at any given time, anything could go in any direction. And it was often true.
The read is not over, but please continue it over on Brain Pickings (I certainly wouldn’t want to wrongfully snag a reader away from its many gems). Who knows what else could pick your brain this morning?
ps. feature image from Lisbeth Zwerger for a rare edition of Alice in Wonderland. I do not own them. (But I do really love them!)
Four things that are making me smile.
a. one that brings me back to my girlhood, when I’d rearrange my dolls into a position where they could surely be entertained for long hours at a time (reading or talking to one another were some favourite activities of theirs). My auntie Leanne has a knack for picking Christmas gifts that cue squeals of girlish glee no matter how old I get. This charming little fox suited up in a red christmas sweater and English schoolgirl skirt is no exception.
b. this vintage locket stirs up thoughts of beloved heirloom jewels that were passed from generation to generation, harbouring stories from each, and keeping them pressed between the locket’s doors. I just imagine a long line of ancestors eagerly whispering their vivacious stories to my heart. (Disclaimer: I snatched this up from a thrift store, so my great-grandmother is not, in fact, whispering vivacious stories.)
d. the late afternoon light that pours through my makeshift, hippy dippy curtain is tinged in the warmest hue. I can hardly articulate the satisfaction I get from seeing my room lit up in this way… but it does remind me of the ephemeral joy of birthday candles. It’s like I think that if I soak up this moment as best I can, and if I linger as long as possible, I won’t blow the whole scene away.
Yesterday, I was perusing through some architecture schools, and before I knew it, I was on the streets. Okay, before you panic, let me clarify – I am not suddenly homeless. Nor am I a busker. Rather, I was drawn into the streets (in the most poetic sense of the word), camera in hand, ready to capture what makes the city I’ve been living in for the past few years so captivating.
Quite simply, the architectural beauty that fills the humble streets of Hamilton demanded to be documented.
This city and I, we know each other pretty well by now. My friends and family back home in Vancouver practically guffawed when I said I’d be heading to Hamilton for school. “Good luck with those winters.” “Steel city, eugh.” And just the simple, “Wait, why on earth are you-“. But ever since first year, I’ve been acquainting myself with the many, many pockets of this city that have been virtually untouched by its industrialism. The streets are dripping in history, every ornate architectural facet speaking to a time long gone. Yes, the grizzly sides of this place really are grizzly. The stench of smoke permeates the downtown core, and it’s completely likely you’ll walk by a number of individuals struggling with a crippling addiction, but that side of the city doesn’t illustrate its potential. In fact, Hamilton has acted again and again on its potential. This video articulates what I want to say in epic proportions, and drums up serious Hamiltonian pride.
The grizzly sides, yes, they’re evident. But they’re also just one side of Hamilton. Look around for just a day and you’ll see what I mean. Hamilton’s best sides – the charming, vibrantly creative, and academic angles – are often left out of discussion. And let me be clear: the best sides of a city aren’t necessarily the “photo-ready smiles”, if you will. Catch Hamilton in candid form, and you’ll see young women draped in vintage coats, old men with Dumbledore-esque beards (even one or two literally smoking a pipe), and snappy young folks lingering in some of Canada’s most charming coffee shops. You’ll see a city that is the definition of untouched beauty. And you know what? I think the fact that this city has so many untouched parts to it is what makes it so entrancing. So absolutely vital to catch on camera. It’s as though Hamilton is an old woman who has wholeheartedly embraced her wrinkles as a part of who she is. Every crease that tells a story is so much more beautiful than a woman who has resorted to artificial means to stay up to par to what society expects of her.
And so I did try to catch the worn out sides of Hamilton. That aged quality is unattainable in so many cities today. It’s being wiped out in favour of modernism at every corner. But today? I’m sick of perfection. I’m ready to embrace the untouched world. Here’s a snippet of what I mean.
My lack of a headboard may earn the badge of “Most Unnecessary Source of Minor Anxiety” but it’s still wreaking some serious inner turmoil. Every morning, I grab my cup o’ joe, settle in with some steaming oats, and open up Pinterest. This is where my eyes turn a subtle shade of green and my student-sized bank account starts to really grind my gears. (Do I hear an “amen”?) Every other gal in the world seems to be wearing crisp white boyfriend shirts and red lipstick, leaving their elegant stains on espresso cups at their local coffee shop, and curling into a bed with an elegantly distressed headboard behind them after a day of work. That last bit, that gets me. Because as a student, there are no funds left to squander on a headboard, no matter how dreamy it may be, and as a renter, I face limited options in putting up a fancy-shmancy art installation behind me. I am, however, on my way to curating a gallery in place of a headboard (even though I might be terrified of getting knocked out in the middle of the night thanks to only having “extra-strength” adhesive strips doing the job).
So, I’ve purchased some IKEA frames of various sizes, obviously intent on recreating some of Pinterest’s Scandi-cool scapes with framed minimalist quotes and red lipstick stains. But I also recently found a sweet assortment of vintage frames, each with knicks and scratches on the ornate wooden designs, and I’m now tempted to leave my IKEA frames under my bed permanently. (Shh.)
But here’s my biggest problem. I don’t have any flippin’ art to put in any of the flippin’ frames. Yeah, it’s a flippin’ problem. (Almost as big of a problem as my desire to say “flippin'”).
In the meantime, I’ve found a collection of galleries that I’m aspiring to. Maybe if I stare at them long enough, this will be the time when dreams come true. When all my wishes on so many stars, even an airplane or two, will just break through into a blissful reality.
Okay, getting some more coffee. Need a caffeine-induced reality check.
I recently shook virtual hands with the object enthusiast on instagram. And by that I just mean I went on to “heart” nearly every photo she has up for us to ogle at. Emily Reinhardt’s collection of ceramics injects the perfect dash of dreamy metallics and unexpected shape into everyday objects, so that we casually leave our vases on display long after the flowers have run their course.
I can imagine her work on Brooklyn street corners or African markets, on every surface in my house or artfully curated on West Elm’s store counters. I’d pluck fresh flowers daily for the sole purpose of keeping my ceramics looking as pretty as they’re meant to be. Because it’s a rare feat when the flowers look just as darling as the vase. Usually the vase is just a means to an end, but not with Emily’s feminine-meets-funky masterpieces.
Quite simply, the object enthusiast breathes new enthusiasm into the everyday objects we surround ourselves with. And to that, let’s drink (tea in a beautifully speckled pinch bowl)!
In other news, this weekend I’ve had Prinze George’s Victor and WET’s Don’t Wanna Be Your Girl on repeat. Both vocalists have these ethereal, feminine voices and I just ache (in a non-painful, this-is-so-good kind of way) while listening. Highly suggest checking them out for your (hopefully lazy) Sundays. I’ve also managed to do zero work since Friday afternoon, which is both depressing and impressive all at the same time. The remedy? Doll yourself up and coop yourself up in a coffee shop, of course. ;)
Komono, an avant-garde Belgian accessories line, has recently collaborated with the estate of late artist Jean-Michel Basquiat to release six watches that muddle the distinction between traditional and experimental. While Basquait’s signature crown is etched into every darling retro watch face, the wristbands rep a unique sliver of one of his iconic paintings. In other words, no two watches are the same. We are all special flowers.
But originality doesn’t mean paying an arm and a leg, although some might give both for a watch that looks this good (seek help if you are one of these people). A notable tenet of Basquait’s philosophy was marrying street art and high art, ergo Komono aimed to maintain this ideology by developing an affordable line without sacrificing quality or originality. But you know what? Every Komono watch maintains this principle. They channel Basquait every damn day.
My personal faves:
Pce n’ luv,