Skip to main content

Marking Time


Time is a strange thing.  We know how long a minute is, and how many minutes are in an hour, and how many hours make up a day, and yet a moment is so intangible.  Time is but a series of moments.  And moments pass at different speeds.  This year feels in some ways to have flown by.  And yet, when I survey it as I have done recently, I can acknowledge how much has happened.  How much has been achieved, and how much growth has occurred. 

I wanted to be present with myself and to mark the day in a way that felt right for me, right now.  My feelings showed me the way and guided me as I allowed more moments to unfold, and to envelop and hold me.  I felt peaceful with the reality that it was a whole year ago that we finally said goodbye.  It was a long goodbye and, in many ways, it was last year that I was faced with the biggest loss:  the gap between the mother had known, and the woman I went to visit in those final months.

I was struck by the energy with which the day met me.  Having sat and looked at some beautiful photographs of the two of us the night before, I woke and enjoyed a morning that resembled many others:  I swam.  This time I swam for her.  I swam for she who first introduced me to the water and she who nurtured my love for the element that has become such an important part of who I am.  I swam for a long time, and enjoyed each length to the full.  The sun shone bright, and I felt bright, luxuriating in the fact that there was no goal and no plan:  I swam, and I swam, and I swam. 

The day was what it was.  It was just that and it was just right.  There was no plan, because these things can’t be planned.  I consulted my internal barometer and trusted the accuracy of its reading.  In so doing, it felt as though I got it just right, and yet of course there is no right or wrong.  Mourning is a process whose path can be neither predicated nor measured.  The best way to do it, is the only way to do it:  employing all of the senses and prioritising nothing over anything.    

Comments

Popular posts from this blog

Table. Apple. Penny.

Whilst there were several places I might have been that morning, I wouldn't have been anywhere else.  The practitioner from the Memory Service arrived promptly.  I liked her instantly.    Mum was nervous.  I think I was a little, too.  It's been a difficult year.   "It's Friday, it's the fourteenth of December and I'm at home..."   No problems there.  CAMCOG, or the Cambridge Cognitive Examination is a thorough assessment tool used to assess the extent of extent of dementia, and to assess the level of cognitive impairment.  The standardised  measure assesses orientation, language, memory, praxis, attention, abstract thinking, perception and calculation.    "Table.  Apple.  Penny."   Three everyday items that were introduced at one point, and then referred to again later on.  Again, Mum was able to recall each.      I am reminded that the...

Glass half full? Glass half empty? Or perhaps the glass is broken

I am, constitutionally, a glass half empty gal.  I will always first acknowledge what I don't have, what I have lost, and what it is that I am seeking.  I tend to overlook my strengths, concentrating only on those bits of me that are underdeveloped or weak.  I refer to myself as a realist, but in doing so compliment myself and insult those who genuinely are simply realistic.  My modus operandi is to identify what's not working and acknowledge this before seeing more clearly what functions perfectly well.  This has its place: I edit others' written work pretty well.  My fastidious attention to detail serves me, and the author.  Accuracy counts, for me and I have an excellent memory.  I can remember a great many of my sessions with clients verbatim.  Even this asset is something I can, and do, diminish the true value of, by concentrating on 'I should have said...' or 'why didn't....  occur to me during the session?' Earlier this we...

Joan Miro: Emotional Art

"Painting and poetry are like love; an exchange of blood, a passionate embrace, without restraint, without defence.  The picture is born of an overflow of emotions and feelings." Miro, The Farm 'La Masia' (1921-22) I learnt a great deal about Miro on a recent visit to the Tate.  I learnt a great deal about a lot more too. Miro wanted to discover the sources of human feeling.  He described his method of creating poetry by way of painting, using a vocabulary of signs and symbols, metaphors and dream images to express definite themes he believed to be fundamental to human existence.  The exhibition displays his sense of humor and lively wit.  His chief concern was a social one; he wanted to get close to the great masses of humanity, and he was convinced that art can only truly appeal when it resonates with roots of lived experience.  "Wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly.  Courage cons...