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‘I have been loved too well’

With my brother

Sitting with my friend across our scratched kitchen table in our Norwich home, we talk about crying when we are alone, for our past and present selves that have been hurt- are hurting. In what seems to me a deeply honest set of joyful tears and painful laughter, the sorrow coated, strange-looking words are dropped on the table: ‘We are healing, Melina!’

Months later I am listening to my favourite podcast, Dear Sugars, and Cheryl Strayed discusses how recovering from the darkest period of her life, she nurtured herself back to health, did not let herself be swallowed by the severe presence of grief. I quite literally stop in my footsteps as I hear the phrase: ‘I have been loved too well’.

She explains that the reason she chose the path that, to her, represented healing, was because she had been loved too well to let herself go. Her mother taught her how to love herself well. I have one of those moments where everything overwhelms everything that sits comfortably posed around it. In one warm Athens evening that welcomes mosquitoes, I am so demandingly reminded of all the times I have cried for myself or thought of myself when I have needed to cry.

I cry with simple, soft things. I cried as my therapist told me I needed to treat myself kindly. I cried when I thought of how my mother put me to bed with stories. I cried when I heard on YouTube the story she would play on the CD player that was placed on my bedside bookcase in Istanbul. I cry as I construct the personal metaphor of myself being nurtured back to health. I cry as I realise I might be missing something that I will never be able to have- I cry as this realisation hardens into a truth. I cry at the thought that I had to grow up abruptly, at a capricious command. I cry at the thought that I didn’t; that I was taken care of so well in pre and post grief times. I cry so often speaking to my father about building things- over, again. I cry on the bed, and I really wish I could cry in the shower, but I cry. And when I’m done crying, it clicks: I too, was loved so amazingly well; I too, was taught how to sprout back.

And yet, ‘too well’, taken completely out of context, is weighed with some other meanings. Family members, as it goes, commented on the way my parents raised me. Strangely, they commented that I was given too much love- as if love is stored in mason jars- tightly sealed with a ‘use by’ date on the lid, and nutrient information on the back. What a strange idea- that a child can be loved too much, cared for too well. They told my mother to read me fewer stories at night. They told her that I would grow up to be spoiled.

My mother’s response was to read novels to me. My mother’s response was to walk in the snow to take me to ballet and swimming class- she was on the brink of bursting, her belly swollen with my brother. Her response was to send me books about how babies are made, and a massive, soft teddy bear that I later developed an allergy to, from the hospital ward- she was sick with pneumonia and about to give birth. My mother’s response was to have close relationships with all my teachers- she wanted so much to tap into my thirteen-year-old attitude that spoke so much and revealed so little. My mother’s response was to do all this but also warn me that I must never judge anyone because we are one inch away from becoming the other.

And I was so content, and sometimes so desolate; I felt it all so acutely. I knew that her response was to grieve for me more than I was grieving for her.

My father’s response was to hold our fifteen and nine-year-old hands that in a day were covered with wrinkles of a special kind. My father’s response was to give us significant promises for a future that we thought to have seen buried with our own four eyes. My father’s response was to listen to me endlessly as I sat on the edge of his bed and felt so much, all at once. My father’s response was to take me to all the doctors you can think of; any professional that could help- it was so difficult to help, even harder to be professional. My father’s response was to say all the words that were needed, to give all the hugs that, if missed, would have left the gaping, grieving wound developmentally exposed and emotionally infected. My father’s response was to fly to Thessaloniki during a competition. My father’s response was to give every last second of the short hour to patching me back into a functioning quilt. And, now, I still feel it all so deeply; and when I don’t, I know what it means to be able to.

And what were they responding to, my parents? At its core, to the way I needed to be loved; softly, like a patchwork quilt, like ballet lessons in the winter or giant, dust collecting teddy-bears, and novels read out-loud.

A lot of my writing reads like a tribute to my parents. This entire post feels like I am trying to fit the history of my person in a sentence- a ridiculously absurd, non-existent- possibility? I feel the closest to that that I have ever been tonight. I feel that the closest I will ever get to that one sentence is to say, ‘I have been loved too well.’ That is, so well. I have been loved so magnificently, so I allow myself to be all at once the person who acknowledges the double reality of what it means to cry for themselves.

It is not self-pity; it is self-love to be, quite frankly, painfully honest with yourself. And, in this way, I am rather suddenly reminded of the humanity I am learning by loving myself to health.

Space for raspberry tea

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A small tribute to mental health day. I think it is important that we honor in our writing not only the composed, thorough thoughts but also the moments of disorientation and confusion.

 

I have felt it-

The chest sitting ear splitting-

Have you felt pressure that says

You need to have an important

Conversation?

 

It asks you to sit on your bed

Have you emptied it yet

Only a moment ago

To sleep on.

You

                                                                           Are not sleeping.

Going to university is defined by possibility. We leap from the extraordinary angst of teenage years into the anxiety of realizing potentials. We are surrounded with an exhilarating energy of learning and innovation.

It tells

You that you

 

Need to

Work it out

Because you have not

 Finished your reading again.

I have scheduled

Even my meals

In my head

Even my

Sleep

I do

Not sleep much

At times, even possibility can be cripplingly exciting. Suddenly, there is endless room to discover. Occasionally, it feels as if there is too much room. We are not used to keeping ourselves upright in such a large space of opportunity that does not come with step by step instructions.

Anymore.

It taps its branches

On your knee

They tap like frantic laughter

They cook your scheduled meals

They have turned your pages

Haven’t they

They have pierced your time

And laughed

 

You laughed

At the papers on your desk.

We lapse into comparison. Small anxieties feed on our self-assessment and they mature into feelings of inadequacy. It is not necessarily a crippling sensation. To be in a constant race with everything is part of the process, and you deserve slightly off-budget raspberry tea if you make it through the week without crying.

It asks the questions

Why do you so need to create?

And be rewarded

Am I not enough

Have I not pushed you am I a failure?

You have

But I need my own pressures too

You understand

Don’t you?

If we did not keep ourselves awake at night pushing for a few hours of extra reading or researching graduate degrees we would not be initiated properly into the adult world which we have only experienced through washing our clothes and buying fresh bread.

Don’t I

You ask

Of course

I do I just want you to wake up

Cradling me like your very own

Like you do.

Sometimes, it is so difficult to slow down; other times, everything feels like it is thick and slow. A lot of the time, we regret not having finished the reading which was impossible to finish because 48 hours of studying in an afternoon did not work out for once. It is important to reflect on our privilege and to be composed. But, part of being a student is starting your sentences with ‘but’ and forgetting to use commas. And that’s okay. Buy some raspberry tea.

Promise me you’ll cradle me

You’ll schedule meals and fear not

I’ll take care of you

I don’t really even exist

But it’s enough for you to feel I do

So if you fear me

I promise to take care of you.

 

On influence

Little girl and her books
Ερμούπολης Σύρου 2017/ Ermoupolis Syros 2017

When I was around ten years old, we went on a school trip that is significant for me to this day. As part of an assignment, our teacher took our class- the prestigious Year six, oldest of the youngest- to an elderly home. This prospect was exhilarating. It meant I could attach the stories of entire life times to people who had the capacity of having lived them. Even the idea of this roused in me the deepest sense of excitement. It seems comical to describe my ten-year-old anticipation in this way; retrospect coats colourful childhood memories with its elaborate new descriptions.

We took the bus there. The details packed around this quiver and ring present to this day. When we arrived, we were assigned a small group of three or four, and accompanied by a resident who would show us around their rooms. My group followed a man who was as eager as me to be listened to; I felt attached to him. He told me some details about his heritage. Regardless of what he had chosen to talk about, I felt a great sense of comradeship with this person who was willing to share his story with me.

We sang with the residents, or performed for them; this memory has been worn out. The trip left a lasting impression on me. This was all part of a class exercise: we would write about our experience. I felt so proud to be at home when it came to writing. I was not ashamed or reserved for my writing or of the pride that accompanied it.  It did not occur to me that my words might be the ones used by my classmates who wrote about similar experiences. If someone had told me that the boy next to me was describing the same man using similar words and expressions in his work, it would have meant nothing to me.  My writing was mine, untainted by questions of storytelling and ownership.

Sometime in the same year, we went on a holiday visiting parts of Spain, France, and Italy with my parents. My teacher had asked me to keep a diary. Most evenings I tucked my chair close to the desk in our room and wrote in the little black book with the strap. I’ve read it since and it strikes me that I did not fear detail or repetition. This small, private freedom indulged me in small pockets of creativity.

Studying at university has made me hyper-aware of the similarities between my writing and that of others. It is a routine to find myself tracing the influence of other people’s writing in my own thoughts; before I write them down they are censored. Don’t get me wrong, I think that being aware of the influences behind different aspects of your writing is a crucial aspect of originality. And, of course, I am not encouraging copying, nor do I believe it is an honourable practice; crediting those whose ideas you are using in academic writing is a core and extremely valuable practice. I am speaking, rather, of the censorship that seeps into the flow of creativity when I become vigilant of those who motivate my own creative pieces. It seems self-evident that influence occurs. Especially as a Literature student, it is more than often that I will find myself echoing the tone of the author(s) whose work I am analysing in my own essay. I am aware that what I am describing is not considered copying. That is how it goes. You read someone great and then you mirror them and that is fine.

Logically, it makes all the sense in the world. Nevertheless, awareness of influence translates into censorship when it seeps into my creative writing. In that realm, it feels different to see the voice of another in your own. When it is a personal piece in which you hear the last book you read colour your tone, it feels unoriginal. You feel like a cheat. I will not try to analyse where this stems from. I have no idea. What I do know, is that I have observed in creative writing as much as in literary criticism that young writers like myself are afraid of starting from the start; of being beginners. This process implies that your voice will carry strong aspects of those that you enjoyed reading or others that have influenced the way you think. In learning to write, we will have to learn to be okay with this; to value it, even. Someone has said that we are afraid of being beginners, I know. Someone must. What was their name again? Influence is infectious.

Then, so much is thrown into the gutter of ‘I have worn this out’. There is a certain fatigue that follows the aforementioned process. Thinking this way about writing, tracing obsessively the influence of other’s work in your own, defeats your will to write and be expressive. It does it to me. I do not want to write about singing with the residents, the story exchanged with the man, or the process of retelling the events. Someone must have done it already. I have thought about it for too long. Following this dizzying train of thought makes you hide in your room with a piercing headache, while your friends sit outside and discuss their pieces, giddy with the scent of someone’s influence running through their own. Maybe, it is worth unpacking why you feel that you will enjoy your piece more when it is finished and you can look at it as the final product.

This particular piece does not end with a suggestion or a solution to this. Someone has one already, I’m sure. But it is worth telling you that I long for the days where I could write about our day in Florence or the old man. He was not only Turkish. He was Turkish and Greek. What is the word for that, again? Someone had told me.