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Tuesday, October 9th, 2012

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Moments of Release

Tuesday, October 9th, 2012: Stories, Trouble.

Last night I watched Never Let Me Go for the second time. Again, I cried at the ending. I cried gloriously for fifteen minutes, in waves of convulsive sobbing that propelled me staggering through the house, blindly clutching doorways and furniture.

I never know how much pain of loss I’m bottling up inside until something like this opens the gates of grieving, and, unfortunately, my hands have more fingers than my life has moments of true release. I suppose it’s how I was raised, my midwestern reserve.

I’ll never forget that night, alone in bed, my first year in San Francisco. I was in my 20s, making good money at an easy job, and I was a creative powerhouse, turning out experimental art, music and writing every day, circulating in the vibrant creative underground, meeting new people every week. But in the near-suicidal aftermath of a 6-year relationship, I’d been single and unloved for three years, I was living alone, and that night I couldn’t get to sleep because I couldn’t find my heart. It was sinking out of sight, shrunken and black, into bottomless depths. My chest felt empty and although my mind was filled with images of loss, no tears would flow. All I felt was a terrifying numbness, and I wondered if I would ever be able to cry again.

That question was answered the following year, just after I’d moved into the Loft. I was sleeping with an art student from Brooklyn who was nearly a decade younger than me. One night after making love, sensitive to our age difference, she tried to pick away at my perceived maturity by probing for old memories of loss, rejection, injustice or cruelty. Very cleverly she trapped me in a downward spiral of memories I’d been avoiding, until I was broken, sobbing and moaning in her arms.

Grieving can assume an epic scale in the desert. Twenty years ago, I was living and working on a remote ecological preserve in the Mojave, staying in touch with my city girlfriend via an old pay phone in a lab trailer, when one night she announced that she’d been sleeping with the bass player in her band for the past couple of months.

The cabin I was sharing with co-workers was at the high end of a valley ringed with low cliffs, and from the cabin an old trail led out of the valley into an empty, isolated basin. Under the full moon I walked that trail away from the company of men, until I got to a circular clearing surrounded by Larrea clones, the stark, moonshadowed shrubs my only company, still and silent, ranks of them standing off into the distance where granite cliffs rose up white as bone.

There, I went down to the ground and howled and pounded the gravel, thrashing like a mad man, wearing myself out in a frenzy of raw pain. Night after night I had fallen asleep watching the moon moving slowly through the sky, imagining that she was my distant girlfriend. And now, like the girl who had attached herself to someone else, the moon seemed cold and pitiless, shining clinically on my suffering.

Do some of us feel things more deeply? Or is it just that we bottle up our feelings until they get out of hand? You’d think that those of us who work in the expressive arts would have plenty of outlets for grief and loss, but that probably works better for some – actors, maybe? – than for others.

All I know is that I owe a debt of gratitude to those artists who give me random moments of release – like the creators of Never Let Me Go.

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