23
Ellipsis
1. There is an Arabic saying that the soul travels at the pace of a camel. While most of us are led by the strict demands of timetables and diaries, our soul, the seat of the heart, trails nostalgically behind, burdened by the weight of memory. If every love affair adds a certain weight to the camel’s load, then we can expect the soul to slow according to the significance of love’s burden. By the time it was finally able to shrug off the crushing weight of her memory, Chloe had nearly killed my camel.
2. With her departure had gone all desire to keep up with the present. I lived nostalgically, that is, with constant reference to my life as it had been with her. My eyes were never really open, they looked backwards and inwards to memory. I would have wished to spend the rest of my days following the camel, meandering through the dunes of yesteryear, stopping at charming oases to leaf through images of happier days. The present held nothing for me, the past had become the only inhabitable tense. What could the present be next to it but a mocking reminder of the one who was missing? What could the future hold beside yet more wretched absence?
3. When I was able to drown myself in memory, I would sometimes lose sight of the present without Chloe, hallucinating that the break-up had never occurred and that we were still together, as though I could have called her up at any time and suggested a film at the Odeon or a walk through the park. I would choose to ignore that she had decided to settle with Will in a small town in southern California, the mind would slip from factual reporting into a fantasy of the idyllic days of elation and laughter. Then, all of a sudden, something would throw me violently back into the Chloe-less present. The phone would ring and on my way to pick it up I would notice (as if for the first time, and with all the pain of that initial realization) that the place in the bathroom where Chloe used to leave her hairbrush was now empty. And the absence of that hairbrush would be like a stab in the heart, an unbearable reminder that she had left.
4. The difficulty of forgetting her was compounded by the survival of so much of the external world that we had shared together, and in which she was still entwined. Standing in my kitchen, the kettle might suddenly release the memory of Chloe filling it up, a tube of tomato paste on a supermarket shelf might by a form of bizarre association remind me of a similar shopping trip months before. Driving across the Hammersmith flyover late one evening, I recalled driving down the same road on an equally rainy night but with Chloe next to me in the car. The arrangement of pillows on my sofa evoked the way she placed her head down on them when she was tired, the dictionary on my bookshelf was a reminder of her passion for looking up words she did not know. At certain times of the week when we had traditionally done things together, there was an agonizing parallel between the past and present: Saturday mornings would bring back our gallery expeditions, Friday nights certain clubs, Monday evenings certain television programmes . . .
5. The physical world refused to let me forget. Life is crueller than art, for the latter usually assures that physical surroundings reflect characters’ mental states. If someone in a Garcìa Lorca play remarks on how the sky has turned low, dark, and grey, this is no longer an innocent meteorological observation, but a symbol of a psychological state. Life gives us no such handy markers – a storm comes, and far from this being a harbinger of death and collapse, during its course, a person discovers love and truth, beauty and happiness, the rain lashing at the windows all the while. Similarly, in the course of a beautiful warm summer day, a car momentarily loses control on a winding road and crashes into a tree fatally injuring its passengers.
6. The external world did not follow my inner moods, the buildings that had provided the backdrop to my love story and that I had animated with feelings derived from it now stubbornly refused to change their appearance so as to reflect my inner state. The same trees lined the approach to Buckingham Palace, the same stuccoed houses fronted the residential streets, the same Serpentine flowed through Hyde Park, the same sky was lined with the same porcelain blue, the same cars drove through the same streets, the same shops sold much the same goods to much the same people.
7. This refusal of change was a reminder that the world was an entity that would spin on regardless of whether I was in love or out of it, happy or unhappy, alive or dead. It could not be expected to change its expressions according to my moods, nor would the great blocks of stones that formed the streets of the city take time to consider my love story. Though they had been happy to accommodate my happiness, they had better things to do than to come crashing down now that Chloe was gone.
8. Then, inevitably, I began to forget. A few months after breaking up with her, I found myself in the area of London in which she had lived and noticed that the thought of her had lost much of the agony it had once held, I even noticed that I was not primarily thinking of her (though this was exactly her neighbourhood), but of the appointment that I had made with someone in a restaurant nearby. I realized that Chloe’s memory had neutralized itself and become a part of history. Yet guilt accompanied this forgetting. It was no longer her absence that wounded me, but my growing indifference to it. Forgetting, however calming, was also a reminder of infidelity to what I had at one time held so dear.
9. There was a gradual reconquering of the self, new habits were created and a Chloe-less identity built up. My identity had for so long been forged around ‘us’ that to return to the ‘I’ involved an almost complete reinvention of myself. It took a long time for the hundreds of associations that Chloe and I had accumulated together to fade. I had to live with my sofa for months before the image of her lying on it in her dressing-gown was replaced by another image, the image of a friend reading a book on it, or of my coat lying across it. I had to walk through Islington on numberless occasions before I could forget that Islington was not simply Chloe’s district, but a useful place to shop or have dinner. I had to revisit almost every physical location, rewrite over every topic of conversation, replay every song and every activity that she and I had shared in order to reconquer them for the present, in order to defuse their associations. But gradually I forgot.
10. My time with Chloe folded in on itself, like an accordion that contracts. My love story was like a block of ice gradually melting as I carried it through the present. The process was like a film camera which had taken a thousand frames a minute, but was now discarding most of them, selecting according to mysterious whims, landing on a certain frame because an emotional state had coalesced around it. Like a century that is reduced and symbolized by a certain pope or monarch or battle, my love affair refined itself to a few iconic elements (more random than those of historians but equally selective): the look on Chloe’s face as we kissed for the first time, the light hairs on her arm, an image of her standing waiting for me in the entrance to Liverpool Street Station, her white pullover, her laugh when I told her my joke about the Russian in a train through France, her way of running her hand through her hair . . .
11. The camel became lighter and lighter as it walked through time, it kept shaking memories and photos off its back, scattering them over the desert floor and letting the wind bury them in the sand, and gradually the camel became so light that it could trot and even gallop in its own curious way – until one day, in a small oasis that called itself the present, the exhausted creature finally caught up with the rest of me.
24
Love Lessons
1. We must assume that there are certain lessons to be drawn from love, or else we remain happy to repeat our errors indefinitely, like flies that drive themselves insane butting their heads against windowpanes, unable to understand that though the glass may look clear it cannot be flown through. Are there not certain basic truths to be learnt, shreds of wisdom that could prevent some of the excessive enthusiasms, the pain and the bitter disappointments? Is it not a legitimate ambition to become wise about love, in the way that one may become wise about diet, death, or money?
2. We start trying to be wise when we reali
ze that we are not born knowing how to live, but that life is a skill that has to be acquired, like riding a bicycle or playing the piano. But what does wisdom counsel us to do? It tells us to aim for tranquillity and inner peace, a life free from anxiety, fear, idolatry, and harmful passions. Wisdom teaches us that our first impulses may not always be true, and that our appetites will lead us astray if we do not train reason to separate vain from genuine needs. It tells us to control our imagination or it will distort reality and turn mountains into molehills and frogs into princesses. It tells us to hold our fears in check, so that we can be afraid of what will harm us, but not waste our energies fleeing shadows on the wall. It tells us we should not fear death, and that all we have to fear is fear itself.
3. But what does wisdom say about love? Is it something that should be given up completely, like coffee or cigarettes, or is it allowed on occasions, like a glass of wine or a bar of chocolate? Is love directly opposed to everything that wisdom stands for? Do sages lose their heads or only overgrown children?
4. If certain wise thinkers have given a nod of approval to love, they have been careful to draw distinctions between its varieties, in much the way that doctors counsel against mayonnaise, but allow it when it is made with low-fat ingredients. They distinguish the rash love of a Romeo and Juliet from Socrates’ contemplative worship of the Good, they contrast the excesses of a Werther with the brotherly love suggested by Jesus.
5. The difference could be grouped into categories of mature and immature love. Preferable in almost every way, the philosophy of mature love is marked by an active awareness of the good and bad within each person, it is full of temperance, it resists idealization, it is free of jealousy, masochism, or obsession, it is a form of friendship with a sexual dimension, it is pleasant, peaceful, and reciprocated (and perhaps explains why most people who have known the wilder shores of desire would refuse its painlessness the title of love). Immature love on the other hand (though it has little to do with age) is a story of chaotic lurching between idealization and disappointment, an unstable state where feelings of ecstasy and beatitude combine with impressions of drowning and fatal nausea, where the sense that one has finally found the answer comes together with the feeling that one has never been so lost. The logical climax of immature (because absolute) love comes in death, symbolic or real. The climax of mature love comes in marriage, and the attempt to avoid death via routine (the Sunday papers, trouser presses, remote-controlled appliances). For immature love accepts no compromise, and once we refuse compromise, we are on the road to some kind of cataclysm.
6. With the naive common sense that complex problems may elicit, I would sometimes ask (as though the answer could fit on the back of an envelope), ‘Why can’t we just all love one another?’ Surrounded on every side by the agonies of love, by the complaints of mothers, fathers, brothers, sisters, friends, and soap-opera stars, I would hold out the hope that simply because everyone was inflicting and suffering from much the same pain, a common answer could be found – a metaphysical solution to the world’s romantic problems on the grandiose scale of the Communists’ answer to the inequities of international capital.
7. I was not alone in my Utopian daydream, joined there by a group of people, let me call them romantic positivists, who believed that with enough thought and therapy, love could be made into a less painful, indeed almost healthy, experience. This assortment of analysts, preachers, gurus, therapists, and writers, while acknowledging that love was full of problems, supposed that genuine problems must have equally genuine solutions. Faced with the misery of most emotional lives, romantic positivists would try to identify causes – a self-esteem complex, a father complex, a mother complex, a complex complex – and suggest remedies (regression therapy, a reading of the City of God, gardening, meditation). Hamlet’s fate could have been avoided with the help of a good Jungian analyst, Othello could have got his aggression out on a therapeutic cushion, Romeo might have met someone more suitable through a dating agency, Oedipus could have shared his problems in family therapy.
8. Whereas art has a morbid obsession with the problems that attend love, romantic positivists throw the focus on the very practical steps that can be taken to prevent the most common causes of anguish and heartache. Next to the pessimistic views of much of Western romantic literature, romantic positivists appear as brave champions of a more enlightened and confident approach in an area of human experience traditionally left to the melancholy imagination of degenerate artists and psychotic poets.
9. Shortly after Chloe left, I came across a classic of romantic positivist literature on a stand in a station bookshop, a work by a certain Dr Peggy Nearly that went by the title of The Bleeding Heart.7 Though in a hurry to get back to my office, I bought the book nevertheless, attracted by a notice on its pink back cover that asked, ‘Must being in love always mean being in pain?’ Who was this Dr Peggy Nearly, a woman who could boldly claim to answer such a riddle? From the first page of the book, I learnt that she was
. . . a graduate of the Oregon Institute of Love and Human Relations, currently living in the San Francisco area, where she practises psychoanalysis, child therapy, and marriage counselling. She is the author of numerous works on emotional addiction, as well as penis envy, group dynamics, and agoraphobia.
10. And what was The Bleeding Heart about? It told the unfortunate yet optimistic story of men and women who fell in love with unsuitable partners, those who would treat them cruelly or leave them emotionally unfulfilled, take to drink or become violent. These people had made an unconscious connection between love and suffering, and could not stop hoping that the unsuitable types they had chosen to adore would change and love them properly. Their lives would be ruined by the delusion that they could reform people who were by nature incapable of answering their emotional needs. By the third chapter, Dr Nearly had identified the roots of the problem as lying in deficient parents, who had given these unfortunate romantics a warped understanding of the affective process. If they had never loved people who were nice to them, it was because their earliest emotional attachments had taught them that love should be unreciprocated and cruel. But by entering therapy and being able to work through their childhood, they might understand the roots of their masochism, and learn that their desire to change unsuitable partners was only the relic of a more infantile fantasy to convert their parents into proper care-givers.
11. Perhaps because I had finished reading it only a few days before, I found myself drawing an unlikely parallel between the plight of those described by Dr Nearly and the heroine of Flaubert’s great novel, the tragic Emma Bovary. Who was Emma Bovary? She was a young woman living in the French provinces, married to an adoring husband whom she loathed because she had come to associate love with suffering. Consequently, she began to have adulterous affairs with unsuitable men, cowards who treated her cruelly and could not be depended upon to fulfil her romantic longings. Emma Bovary was ill because she could not stop hoping that these men would change and love her properly – when it was obvious that Rodolphe and Léon considered her as nothing more than an amusing distraction. Unfortunately, Emma lacked the opportunity to enter therapy and become self-conscious enough to realize the origins of her masochistic behaviour. She neglected her husband and child, squandered the family money, and in the end killed herself with arsenic, leaving behind a young child and a distraught husband.
12. It is sometimes interesting to think how differently events in the past might have unfolded had certain contemporary solutions been available. What if Madame Bovary had been able to discuss her problem with Dr Nearly? What if romantic positivism had had a chance to intervene in one of literature’s most tragic love stories? One wonders at how the conversation would have flowed had Emma walked into Dr Nearly’s San Francisco clinic.
(Bovary on the couch, sobbing.)
NEARLY: Emma, if you want me to help you, you’ll have to explain what’s wrong.
(Without looking up, Madame Bovary blows her nos
e into an embroidered handkerchief.)
NEARLY: Crying is a positive experience, but I don’t think we should be spending the entire fifty minutes on it.
BOVARY: (speaking through her tears) He didn’t write, he didn’t . . . write.
NEARLY: Who didn’t write, Emma?
BOVARY: Rodolphe. He didn’t write, he didn’t write. He doesn’t love me. I am a ruined woman. I am a ruined pathetic, miserable, childish woman.
NEARLY: Emma, don’t speak this way. I’ve told you already, you must learn to love yourself.
BOVARY: Why compromise by loving someone that stupid?
NEARLY: Because you are a beautiful person. And it’s because you don’t see it that you are addicted to men who inflict emotional pain.
BOVARY: But it was so good at the time.
NEARLY: What was?
BOVARY: Being there, with him beside me, making love to him, feeling his skin next to mine, riding through the woods. I felt so real, so alive, and now my life is in ruins.
NEARLY: Maybe you felt alive, but only because you knew it couldn’t last, that this man didn’t really love you. You hate your husband because he listens to everything you say, but you can’t stop falling in love with the sort of man who will take two weeks to answer a letter. Quite frankly, Emma, your view of love betrays evidence of compulsion and masochism.
Essays In Love Page 15
