Sunday, May 27, 2012

What I Need is a Beard (or Daddy Issues, Depending on How You Want to Read This One))

My relationship with my father is not a great one. There is resentment on both sides, but mine is tempered somewhat by the fact that I do genuinely love him. Dad has always looked at me like I'm a bit of an alien. He just doesn't understand me at all. This is probably because he doesn't know me at all, because he has never really taken the time to take a look that is anything other than superficial. 

From what I can gather, he thinks that I am argumentative (which I can be, if I really believe in something), headstrong (also, yes, but not necessarily in a bad way), snobbish (I concede that I can be, but not in the way that he thinks I am), and altogether mystifying.

When I told him I was moving to Dublin, his first reaction was to ask why. I told him that I wanted to travel, to see the world, that I had fallen in love with the place and wanted to live there. He looked at me as if I had two heads and informed me that really, what I should be doing, was leaving all my travelling and adventure until I was older, like his age, the way he had done. He had never left Australia, bar a brief honeymoon with my stepmum to Hawaii, up until a few years ago. The fact that he couldn't get his head around the idea that someone might be able to feel a connection to a place, that someone my age might want to live overseas before settling down into the minutiae of life in general, caused me to judge him, again. Judgement is something I cast on my father all too regularly, and it makes me feel like an awful person, but I can't fathom someone being that narrow minded and self-absorbed.


Compare this to my stepdad's reaction, which was to do everything he could to encourage my dream. He had left Ireland when he was the same age as me, and had never looked back. He understood my wander lust, and understood why I needed to do it. He didn't even think to question it, because he knew that it was simply unavoidable.

My dad has been asking me since I was about twenty five years old why I don't have a boyfriend (this commenced about a year after I ended a two year relationship with the King of Emotional Fuckwittery, apparently being single for a year is akin to a death sentence). He seems to take some sort of pleasure in telling me that unless I settle down soon noone will have me, that I will be too set in my ways and unable to attract anyone. 

I would be able to accept this, based upon the fact that my dad has never left the small town he grew up in, a place where it is highly unusual to be single at my age. I could also acknowledge that he probably says these things to me because he worries that I will be alone and sad, and that he hates being alone and doesn't want me to suffer the same fate. I could accept these things and allow his constant barbs about me 'needing to find a man' and snorts of derision whenever I mention the possibility that one day I might be married with kids, if it were not for the fact that he is the last person on earth who should be giving anyone relationship advice, ever!

My mum and dad got married far too young, as is customary in my home town. And they should never have been married. They share none of the same values. The only similarity I can see between the two of them is that they are both ridiculous dreamers, whose dreams are completely unrealistic and unattainable. Even if their dreams had been attainable, they never would have got there together, because they are both incapable of moving forward, and have no skills with which to achieve their goals, or identify elements that are somewhat unrealistic and act accordingly. I say this from a distance, and with the benefit of hindsight, but their marriage was a disaster and the thinly veiled contempt that they still seem to harbour for each other twenty five years on is evidence of this. 

My dad's second marriage was to a fabulous woman who had four sons. She was the sole reason my brother and I resumed regular contact with our father, and she basically took us on as her own children. She has faults, as everyone does, but she is a good mother and she loved my father with everything that she had. But my dad is incredibly hard to live with, and I know this from living with him for the final two years of my university degree, a time I spent largely holed up in the university library or at my emotionally incompetent boyfriend's home, just to escape the overwhelming sense of being stifled in my own home. My stepmum implored my dad to take steps to save their marriage, to attend counselling with her, to talk about the fact that she felt trapped and sad. He refused. He claimed that he 'couldn't change,' and implied that she shouldn't need him to, that she had known what she was getting herself into. This enraged me, but my rage was pointless. My stepmum left just before I finished my degree, leaving me alone with the mess. I don't blame her for this. Their relationship is still in an odd state of flux even now, five years on, but I find it best not to think about it. 

Based upon his disastrous attempts at being in adult relationships, I feel resentment every time my dad judges me for not being in a relationship, and so very rarely discuss anything of this nature with him. I feel angry that he can't look at all of my other achievements in life, even just the fact that I am generally a nice, well-liked person, and just feel some sense of pride. The fact that he is so fixated on this one area of my life, and that he feels that I am not worthy unless I find a boyfriend, can leave me feeling slightly worthless. The negative voice I mentioned in my last post about Mr. A? When it occurs, it generally takes the form of my dad telling me that I am hopeless and can't possibly succeed in keeping a man. And sometimes I feel like it's a bit of a self-fulfilling prophecy.

It took me a long time to accept that I can be happy and have a wonderful life without a boyfriend, and everytime I see my dad I am sent straight back into that negative place where not having a boyfriend is viewed as some sort of indictment on me as an individual. Not as an indication that maybe I have just made certain choices in life that have led me to this place, and an acknowledgment that there is more to life than marriage and babies. 

My dad makes me feel like Charlotte Lucas in Pride & Prejudice, a dried up spinster who should settle for any old creep who throws their lechery in my direction. But I refuse to settle. There, I've said it. I'll only marry a man who I love, who I am attracted to, who I engage with on an intellectual and emotional level, and, above all, one who shares my values. I will never marry a Collins just for the sake of appearances. I would rather die alone and be feasted upon by my menagerie of pets for a few days before being discovered.


What I think I need, to combat this issue with my father, is a beard, but one for a heterosexual woman. A man that I can take back to my home town whenever I am compelled to visit there out of duty. A handsome, intelligent man who can hold his own against my father and behave like he is utterly, and endlessly in love with me. I would even take the ruse so far as to pretend that we were actually married (elopement, of course, to avoid the mess of actually having to have a fake wedding), and bring along gorgeous children who were purportedly ours. Of course, a real boyfriend would be ideal, but this seems like an unlikely prospect, and I probably wouldn't want to introduce a real boyfriend to my father too soon, it might scare him off if he realised what a crackpot family I come from.

So, if anyone out there knows a nice man who would be willing to participate in this entirely platonic endeavour to get my father off my back, please send them my way. Because I don't know how much more of this negative talk and derision I can take before I explode and go on a major feminist rant to a man who has not the slightest clue about the point of feminism or female empowerment more generally.

Wondering who it is that I actually take after,

B. J. Barnes

Saturday, May 26, 2012

How Not to End a (Very) Short Fling

I started writing this a few weeks ago, immediately after the fact. But I couldn't finish it, and I'm glad that I couldn't, because it would have been a mess. Now that I've had a little bit of time, I think I can strike the right balance between seeing this for what it is, yet another weird dating disaster story, and writing like a true woman scorned (which I'm really not, it was far too short a disaster for me to feel really bitter.) In case you haven't already guessed, this will be the last chapter in the incredibly brief novella that was my fling with Mr. A. I'll write this down, and then I'll let it go, with any luck.

After the first date, things progressed quickly. Time passed in a haze of ice cream dates, manic butterflies in my stomach, and finally, FINALLY, a physical connection. It seemed to be travelling well. He seemed to like me too. He remembered things that I liked, he arranged a thoughtful, amazing date that tapped into aspects of my personality that he appeared to have identified. I was smitten. And, in spite of the little voice that is always with me telling me that I can never hold down a relationship and that this was bound to fail, I felt confident. I ignored that voice, telling myself that I needed to stop being so pessimistic. I listened to my friends, who told me that everything sounded so positive, and that they had good feelings about it all.

I had to go home to Sydney for a rather significant birthday that my darling little sister was celebrating, and I had let him know that I would be free early in the week after my return. He suggested a drink, and I gladly agreed. The little voice was somewhat quelled.

I arrived back in the afternoon before the planned drinks date, and ran around my house like an absolute mad thing, tidying everything up because it was pretty likely he would come home with me (as usual), unpacking my suitcase, and making myself look gorgeous (I'm pretty sure I succeeded in this last one, I got eyed off by a very handsome man on my way in to get dumped. I should have blown off Mr. A and struck up a conversation with that guy instead).

I got to the bar and he was already there. He didn't notice me walking up, he was reading (swoon), so I sat right by him, kissed him and was generally very enthusiastic about seeing him (mainly because I was really excited to see him). I went to grab a drink and then we had a conversation about our respective weekends. He suggested we go to get dinner and I readily agreed. We walked around the city, trying to find a restaurant, he held my hand, put his arm around me, acted just like he always did (pessimistic voice completely gone, new happy voice shouting at old voice telling it to disappear forever). We had dinner, chatted, he asked about personal family things, I held back slightly (still wary of over-sharing), but answered as honestly as I could without getting all dark on everything. 

After dinner we went to a nice little quintessential Melbourne bar. I was completely relaxed, as you can imagine, everything seemed to be as it always was.Then he dropped the bomb. 'I'm really sorry, I can't do this anymore.' 

I thought that I had misheard. He had, after all, been holding my hand and acting perfectly normal. We'd just had a dinner date for fuck's sake!


'I'm sorry, what?'


'I can't do this anymore, see you, I mean.'


I went from being comfortably sprawled in my chair to sitting straight up, hands on knees, almost rocking slightly. Why? WHY? WHY?


He offered a few excuses, intimacy issues, an instinct that it was wrong, the fact that he felt we were at cross-purposes (this one really threw me, I'd never really thought about my purpose in this. Sure, I had thought that maybe he might eventually be my boyfriend, but I had accepted it was early days, and hadn't made any plans. I'm not sure what his purposes were, but whatever they were, my undefined ones were at odds with them.) He told me that he didn't dislike me, that he found me 'oddly interesting,' and that due to his intimacy issues and his inability to hold down a relationship beyond three months, I could console myself with the fact that it probably wasn't me.


I told him that this was a shit situation, as I liked him, and had done so for a long time. I might have also mentioned the fact that I felt that this was a little unfair, and that whilst I acknowledged that there was some awkwardness between us, thought this was a by product of the fact that we were both kind of awkward people, and had expected that it would pass as time went by. 


I left after this and walked in absolute shock to the best friend's place, where I cried. I cried for half an hour in absolute rage. I was in the midst of a self-blaming attack, what had I done wrong, why couldn't I keep men, what is WRONG with me? The best friend tried her best to comfort me.

My self-blame passed, and then I was filled with rage. An overwhelming, hateful rage. How dare he! He broke up with me! Then I just felt sad and crabby for a week. 


I guess the overwhelming feeling I'm left with, a few weeks on, is disappointment. Disappointment that things didn't work out, because I did really like him and genuinely enjoyed his company. Disappointment that he didn't just take my alternative offer of friendship at the outset. Because I never acted in a way that was anything other than how I am. He knew the kind of person I was before diving in, and I feel like if he had doubts about our compatability even then (which I imagine he did), he should have just indicated that he would rather be friends. And I would have been fine with that. This wasn't a great love, akin to the way I felt about The Writer. The crush would have passed, and we would have been able to get along quite well in a platonic way, in my opinion. But now, he's fucked that, because I don't want to be friends with someone who could behave in the absolutely appalling way he did. I'm also disappointed in myself, for once again picking the wrong guy. But I'm not going to beat myself up over it, one of these days I have to get something right, the odds are kind of in my favour, surely I'm very close to having used up all my bad luck. And it would be much worse if I wasn't open to giving people a chance, because I might miss out on some awesome opportunities.


So, the point of this post was to close off this shitty little chapter of my much bigger, happier story, but also to offer the following advice to people who want to end a relationship in the very early stages. Don't do the following things on the night you plan to dump someone:

  • Show any affection towards the person you're planning on dumping;
  • Go on a dinner date with the person you're planning on dumping; and
  • Generally act the way you always do, thus setting the person you're planning on dumping at ease.

Instead, do the following things:

  • There is nothing wrong with ending a fling over the phone. My younger self would have disagreed with this advice, but there was absolutely no need for me to see him that evening. I could have been at home in my pyjamas eating chocolate;
  • If you insist on seeing the person you're planning on dumping (and, again, totally no need for this after a handful of dates), do the dumping quickly, like ripping off a band aid. It's better for everyone. Don't drag this shit out, it just makes it even more perplexing; and 
  • Accept that the person you're planning on dumping is probably going to be shocked and a bit angry with you. Allow yourself to be the bad person in this scenario (especially if this person offered you the choice to just be friends only weeks prior to this ultimate act of awkwardness).
I am feeling much better now, I feel like I've dodged an atomic bomb of sorts, and am glad I didn't get any more invested. It's sort of raised some uncomfortable questions about my residual feelings towards The Writer, but that's for another time. 

At some serious cross-purposes,

B. J. Barnes

Sunday, May 20, 2012

For Me, Art is All About a Feeling

I am an English major. In my fun degree, that is. If money was no object I would happily study the liberal arts for the rest of my life, maybe do a spot of volunteer work in my more serious profession for a bit of a lark and to feel like I was 'contributing' to society. The point is, if there's anyone that can rip a piece of art limb from limb, expertly dissecting its themes, plot structure, and underlying message and wrapping that up in a neat, succinct bundle of words called an essay, it's me.

Don't get me wrong, I rather enjoy the fact that when I watch a movie or (relatively, for me at least, lover of all things trashtastic) high brow television program, or read a book, or listen to music even, I can identify central themes, and devices that have been used to promote said themes. This enjoyment probably comes from the fact that, at heart, I'm a bit of an artsy wanker who enjoys being able to point something out knowingly. Or reference it at a later stage in conversation when trying to impress an equally artsy, wankery man. Or just amongst my friends, who would probably look at me and call me a wanker, or join in, because they too are wankers. 

Anyway, all this talk of artsy wankery has got me a little off topic. The point is, I appreciate the fact that I am able to see the technical side of art. But, at the same time, I think that the technical side of art is not the part that really matters at the end of the day. Clive James summed it up really well in his absolutely epic collection of essays called Cultural Amnesia (if you have a spare year of your life and the ability to sit still and read very dense language about incredibly interesting subject matter, but also the humility to recognise that Mr. James is a genius, and that you will never be as brilliant as he, and that is why much of the book will go completely over your head and all you can hope for is that some of the brilliance will rub off onto you in the guise of a remembered fact or quote then, by all means, read this book):

'Art proves its value by still mattering to people who have been deprived of every other freedom: indeed instead of mattering less, it matters more.'

Couldn't have said it better myself. Don't ask me for a page reference for this beautiful little snippet, I have no such details.

My point in using that quote is to illustrate the main thrust of my argument (spoken like a true English major, albeit one whose referencing skills clearly need a brush up), which is that whilst the technicality of art is no doubt important, what really matters, at the end of the day, is the way that art makes you FEEL. I am sure that the people of whom Mr. James speaks do not appreciate art purely because of all its technical glory. They are appreciating art in a time in their lives which is difficult or downright horrific because of the joy that it brings to them. Listening to music simply because it is uplifting. Watching film because of the beautiful shots used to tell a wonderful story. Reading a book because of its ability to transport you to another place and time through language. A beautiful piece of art brings you hope for a better life in a way that nothing else can. The fact that humanity is able to create such beauty is, to me at least, indicative of the fact that we are capable of compassion and kindness and, ultimately, love. People will keep doing horrible things to each other, of this there can be no doubt, but as long as we have art there will be hope for better things to come. That is what true art means to me. 

I once argued at school that the dissection of poetry line by line was a pointless exercise, because I highly doubted that poets sat there and thought through every tiny technical aspect of a poem before writing it. I was probably wrong about this, poets probably are very technical beings who consider all of those issues as they write, but I like to think of poets as passionately artistic beings who are unfettered by convention or technicality. I hated poetry for a long time, possibly because of the times in school and university that I was forced to break down what for me was essentially a work of art into tiny, seemingly insignificant chunks of information about meter. But I've come around to it the older I become. And that is because I no longer go into reading a poem thinking about the meter or the theme. I go into reading a poem purely for enjoyment, for the thrill that beautiful language can evoke in me.

The beautiful use of the English language is my opiate, creating a euphoria in me that is almost unparalleled by anything else. I'm getting a bit quote happy in this post, but it is about art and literature, so it seems only right. Nick Hornby (one of my all time favourite authors, possibly because he writes with such precision about the kind of under-achieving, over-thinking, largely directionless men that I find myself attracted to time and again. Possibly also because I am the female version of said men. Definitely because he writes well), in his lovely ode to literature, The Polysyllabic Spree, spewed forth the following controversial gem:

'Books are, let's face it, better than everything else. If we played cultural Fantasy Boxing League, and made books go fifteen rounds in the ring against the best that any other art form had to offer, then books would win pretty much every time.'

I tend to agree with him, because I am a book nerd. But I also love music, and film and painting and sculpture. Books simply win, for me, because language is the way in which I find those things like love and hope, that are essential to humanity, are most beautifully conveyed. 

When I think about books that I have read, films that I have seen, pieces of art that I have observed, music that I have listened to, I primarily remember the way that they made me feel. Like the feeling of absolute amazement and joy that washed over me at the conclusion of Yann Martel's Life of Pi, the soft, languorous, but still thrilling warmth that arose in me as a result of Sophia Coppola's use of pastel colours and dreamy shots in Marie Antoinette, the brooding melancholy that seeped into my very soul whilst reading Wuthering Heights, the love and sensual energy that I could feel emanating from Picasso's painting of his wife, Olga in the Armchair, the way that Tim Burton made me feel like I was falling in love at first sight the moment that his hero in Big Fish first spies his wife at a circus and time, literally, stands still, even the way that the little references to things that are going to be of future importance to Ted's overall story in How I Met Your Mother make me feel slightly giddy. So if you ask me to tell you about the story of Pride & Prejudice, I'm likely to reference the playfulness of Lizzie, and Darcy's aristocratic stuffiness, rather than go into intricate detail about the ins and outs of the plot itself. If you ask me to describe the Smashing Pumpkins' music, I'll give you a genre, but then proceed to describe how I think that Billy Corgan's music is somewhat misunderstood, that he is not writing angsty, depressing songs, that he is actually writing love songs with angsty undertones, and how if you actually listen to some of the songs you can feel uplifted.

In short, I'm not the person to talk to if you want a technical breakdown of something, or if you want to discuss plot devices or themes. I'm all about the feeling. If you want to talk about that, I'm your woman. 

Yours in artsy wankery,

B. J. Barnes