“It is easy to see the beginnings of things, and harder to see the ends.” –Joan Didion 1. It becomes palpable in late spring, when I receive a pair of unconditional offers posted first-class Royal Mail. I give ample notice at work; I make a little list of things I “haven’t done yet,” as though I am permanently relocating to the moon and will never again have the opportunity to ride the Staten Island Ferry; I chart out the furniture I need to sell, making guesses at how much cash I might collect as I disassemble my life. The days slip by and summer stutters in, blisteringly hot at first, then endless weeks of rain. (Half a dozen people say something to the effect of “You’d better get used to this!” often with a wink and a nudge, and I bite my tongue, or sometimes, I don’t, and snap, “The rain in England is not like this,” even though sometimes it actually is. A friend buys me a raincoat — a “parting gift” for the “the precipitation zone you will be heading to” — and I am profoundly grateful.) I begin to get maudlin as I leave certain places, or say goodbye to people at the end of the night. “Will this be the last time I...” The abstract idea that has hovered over me for ages — leaving New York City — sprouts legs and begins to crawl. I’m headed to University College London in the fall, after one more season taking bets in my hometown, at the Saratoga Racecourse (this summer marks my tenth anniversary as a pari-mutuel clerk). These steps have been charted for a good while now, guided by the gravitational pull of London, a city in which I’ve lived before and a place that always manages to provoke my most extreme emotions, for better or for worse. Before all of that, though, I have to say goodbye to New York, which feels a bit self-indulgent: people change cities, migrate across the globe, uproot their lives every day, and most of them don’t feel compelled to write long essays about moving. But New York, though — maybe it’s the preponderance of writers here, the narcissism and the navel-gazing, that turns our comings and goings into a series of extended metaphors? We document our arrivals and our acclimations, the natural evolution of a human being, growing older — changing in a city that’s often painted as the living embodiment of change. And when we manage to leave, if we manage to leave, escape becomes a genre in and of itself. Because it often feels like that: escape, like getting out of town is risky, or hard to coordinate, or something that happens just in the nick of time. There are a lot of "leaving New York essays" out there, nearly all of them framed from the vantage of the author’s new location, a place that’s usually less shiny or less gritty, somewhere that’s better in a lot of ways but invariably shadowed by nostalgic regret, maybe a kind of lingering sense of not having "made it" here, whatever that means. They follow a tested formula: you march confidently across the Hudson possessed with extreme naivety, because you are impossibly young when you arrive in New York, no matter your age on paper; you quickly learn the same sorts of hard lessons that people have learned for years on end; you pay a lot and get very little and sharpen your cockroach-killing reflexes; you have moments of startling clarity, as you reference specific street corners or landmarks or bits of cultural currency, paired with embarrassing vocalizations of these moments of clarity. (These references have obviously shifted over the years; right now, it’s often people drinking Tecate on rooftops in Bushwick as the sun sets over the Midtown skyline. For me, in my years working the night shift in a skyscraper in Times Square, it was the Midtown skyline sometime after midnight, from the BQE just above the Kosciuszko Bridge, cemeteries and hulking warehouses shadowed in the foreground and a postcard stretch of light and geometric wonder across the river.) And then somewhere along the way, it ends. It’s not the day you leave, because if you’re writing this sort of piece, it’s likely that no one is forcing you to go, or you’re not putting up much of a fight. The New York of our imaginations has to end sooner than that — maybe it collapses under the weight of our own preconceptions, or maybe pinning so much responsibility on a city serves to mask the way the passage of time can alter us: when we arrive we are willing and eager to fold ourselves into different shapes, to make ourselves fit, but as we grow older, acts of contortion become more difficult, or at the very least, less desirable. It was always easy enough for me to live here, but my New York lost the vibrancy of the early days pretty quickly; I could hold my folded shape, but the stagnancy chipped away at me over time. People say that New York is a city for the rich, or a city for the young; it is also a city for the new and the bendable. On Easter Sunday, I box up my books and hesitate as my fingers pass over a well-worn pair of Didion essay collections, the big two, Slouching Towards Bethlehem and The White Album. I am sorting books into three piles: to give away; to send upstate; and to keep around for my final few months in New York, things I know I need to read, my half-dozen favorites, and a few shelves of "emergency books" that I irrationally feel like I might want to reference and need nearby me at all times. Afterwards it looks like the oddest little library — Gulliver’s Travels and Orwell’s essays and Evelyn Waugh’s collected short stories? Why did I keep these things here? Did I think I’d need to peruse How Fiction Works in a pinch? But I remember now, three months later, why I kept the Didions close at hand. In the vast realm of "leaving New York" essays, “Goodbye to All That” says everything that has ever needed to be said — but better. 2. I bought Slouching Towards Bethlehem in the final weeks of my senior year of college, and I read it during the strange, torpid months that followed. I open it up years later and remember, with some surprise, that those months coincided with my ill-fated experiment in becoming the kind of person who makes notations in books. Flipping through the essays, I see that I was playing fast and loose with the brackets and asterisks, basically rendering the act of marking totally pointless, like highlighting an entire page. I marked some good stuff, but most of it’s good stuff, kind of extraordinary stuff, really. It’s here that I should pause and acknowledge that if there’s anything more tedious than a “leaving New York” essay, it’s a “young girl discovers that Joan Didion has an inside window into her soul” essay. Bear with me for a moment, please. I can’t help but wonder why “Goodbye to All That” was placed at the very end of the book: chronologically, it belongs at the very beginning — it explains away her twenties, and lays some of the foundations for the woman we find through all the rest, simultaneously fragile and steely, searching for answers under the California sun. Didion in New York is bendable to the point of breaking: it feels so removed from the rest of it, and I suppose, in a real sense, it was: she arrived here at age twenty, in the late fifties; she left eight years later, to return to her native California, as the West Coast was securing its central place in the socio-political history of the decade, and a permanent place in the American cultural imagination. In the final pages of the book we do a bit of a 180, back to Didion’s New York. Even from a distance, across the river and half a century later, the city is so instantly recognizable that it’s startling. I re-read the part about talking to her long-distance boyfriend during the first few days and laugh aloud on a packed train at rush hour. (“I would stay in New York, I told him, just six months, and I could see the Brooklyn Bridge from my window. As it turned out the bridge was the Triborough, and I stayed eight years.”) There’s a dangerous paradox in writing about your earliest years, about the very beginnings of adulthood. We believe our experiences to be unique but the messages to be universal, and we have a hell of a time trying to strike the right balance, without coming off as narcissistic or arrogant, qualities that look all the harsher when paired with inexperience and immaturity. It’s tricky to avoid whining. The circumstances of my own first year out of school are difficult to quantify, sometimes interesting, sometimes mind-numbingly ordinary: the post-graduation confusion, then a return to my summer job at the track; moving to Edinburgh to work in a t-shirt shop and live in a long-term hostel; moving to San Francisco to take an internship and cobble together rent money with sketchy side gigs; getting a call one day in early July, waiting for cheap sushi in San Francisco’s financial district, that my best friend had been hit by a truck and killed as she was biking to work that morning. I had decided to leave California a few weeks prior; I felt slightly out-of-synch out west, uncomfortable in ways I’d never felt in Scotland, as grim as my life there turned out to be. With loss, priorities can sharpen. I returned east immediately. If you asked me to explain myself that year, I’m not sure I could. I can outline my movements in plane tickets and bank statements, in e-mail chains and hazily-recalled phone conversations, but I fall victim to that paradox, the simultaneous convictions of uniqueness and universality. I came to New York on the heels of all of this, and those convictions solidified there, as I attempted to lay the foundations of the life I felt I was supposed to lead. Didion describes her own naïve march into New York by addressing the paradox with a kind of unflinching sentimentality: When I first saw New York I was twenty, and it was summertime, and I got off a DC-7 at the old Idlewild temporary terminal in a new dress which had seemed very smart in Sacramento but seemed less smart already, even in the old Idlewild temporary terminal, and the warm air smelled of mildew and some instinct, programmed by all the movies I had ever seen and all the songs I had ever heard sung and all the stories I had ever read about New York, informed me that it would never be quite the same again. In fact, it never was. Some time later there was a song on all the jukeboxes on the upper East Side that went “but where is the schoolgirl who used to be me,” and if it was late enough at night I used to wonder that. I know now that almost everyone wonders something like that, sooner or later and no matter what he or she is doing, but one of the mixed blessings of being twenty and twenty-one and even twenty-three is the conviction that nothing like this, all evidence to the contrary notwithstanding, has ever happened to anyone before. It almost feels like some sleight-of-hand, the way the experiences her twenty-year-old self believes to be singular are cut down by that final sentence. Didion, a pioneer in the school of New Journalism, stretches her years in New York across the city like a broad, welcoming umbrella, inviting all of us underneath to find our own experiences in her early fumblings. “Of course it might have been some other city,” she writes, “had circumstances been different and the time been different and had I been different, might have been Paris or Chicago or even San Francisco, but because I am talking about myself I am talking here about New York.” I can’t help but wonder, though; it’s an impossible sentence to counter, after all. I compare my own earliest fumblings to my years in New York — the place where my twenties slipped away, where I worked very hard and got just a little bit in return, where I spent huge swathes of time never setting foot outside the five boroughs (more like three boroughs, actually), where my own cultural assumptions met up with hard realities, where I stopped to marvel at that stretch of the Midtown skyline every single time I passed it — and I think that it couldn’t have been anywhere else. But then, perhaps because I am talking about myself I am talking here about New York. 3. Everything changes, even people, at least a little bit, and I watched my friends unravel somewhat in New York and then weave themselves into something nearly unrecognizable to me. I am leaving at a pivotal moment: one after another, people I know bid goodbye to their twenties, approaching the time when it feels as though one must choose to escape New York and rebuild elsewhere, or attempt to graduate into a more settled existence, moving in with partners and purchasing real estate and thinking about the future in years, maybe decades, rather than months. I think that those who stay are not choosing the life I’ve known: they are hoping to create something new, or so I assume. All the while, the circle contracts: a good number of my friends, some of the closest, have left town within the past year or two, nearly all of them in the height of summer, making toasts at outdoor goodbye parties as sweat collects at the backs of our knees. I want to say goodbye properly but I am not quite sure how to manage it. “You’ll be back,” people tell me, at work or out at some party or other, and I think, well, maybe, or better yet: yes and no. Joan Didion, after all, has returned to the Upper East Side. I can come back for certain — though maybe when I win the lottery, because I can barely afford to stay now — but I can’t return to any of this; I lost it some time ago. I suppose that’s why it’s so much easier to say goodbye to the physical space, to the things that give me my daily bearings, than to the alternative: I’ve always been terrible at endings, from my childhood notebooks to the current collection of folders on my desktop littered with unfinished stories and essays, things that are very nearly there, if only I could find the last key piece, some subtle thematic note that could tie it all together. “Goodbye to All That” takes its title from Robert Graves’s autobiography, Good-Bye to All That, his “bitter leave-taking of England” written in the wake of the First World War. But Didion’s essay, first published in The Saturday Evening Post, was originally titled “Farewell to the Enchanted City,” which I think might suit it better, in some inexplicable way. There’s so much inevitable disappointment wrapped up in the title — nostalgic regret, my absolute go-to when leaving a place. The Enchanted City, the land of outsized expectations. “All I mean is that I was very young in New York, and that at some point the golden rhythm was broken, and I am not that young anymore.” It isn’t hard to live here, for some of us, but maybe it is hard to sort our expectations from our dreams: the horizon is too hazy, blotted out by the skyline. Months to go, then weeks, and then it is a matter of days. I take stock, and I don’t say much, let alone any real goodbyes. To the physical spaces, my favorite corners: Cadman Plaza just after a thunderstorm, the view up Manhattan Avenue, dashing towards the train at Bryant Park at sunset. To the golden rhythms of the life I’ve known, because I, like Didion, spent my New York years making a magazine: I spend a few weeks working to not feel responsible for these words on these pages, for the publication to whom I’ve sacrificed Friday nights for nearly five years (and a good number of Saturdays, too), for the magazine that’s always been irrevocably wrapped up in my idea of New York, long before I ever stepped foot in the lobby. To my friends, who, if we can manage it, will always be my friends, but never like this again — even if I rushed back tomorrow, the ground has already shifted beneath me. But mostly to the Enchanted City, to the idea of it, how effortlessly it formed in my mind, and how it can disappear in an instant, when your back is turned. Someone else, somewhere, is arriving right now, marching across the Hudson: picking it back up, and falling in love with New York City for the first time, too. Image via Sakeeb Sabakka/Flickr
Oh, what did I read this year. I read all the Dear Prudence columns and some of The New York Times Vows and 6,000 things on Wedding Bee and even more things on Facebook and a lot of Tweets I do not remember now. I read two-thirds of the things about the election and one-third of the Mormon mommy blogs. I read most of the Andrew Sullivan and some of the Ta-Nehisi Coates and half of The New Yorker, but not the thing about Hilary Mantel, because I didn't read Wolf Hall, until this week when I read half of it on the train. In the airplane I read Esquire. In the bathroom I read The Economist that I got free with the miles I accrued reading Esquire in the airplane. In the living room I read the alumni magazine I got free with the expense I incurred on my education. I read the whole Jonah Lehrer scandal. My favorite thing I read on Jezebel was a video of a dog fetching a cat. I read In Other Rooms, Other Wonders, and my word, was that good. I read The Appearance of a Hero, and wrote a whole review of it in my head called "Where the Bros Are" -- or was it "For the Bros"? -- but forgot to write it down (don't get me started on the things I didn't write this year). I read NW and couldn't stop thinking about the scene with the tampon string like a mouse tail and got the taste of metal in my mouth, thank you very much Zadie Smith. I read We Need to Talk About Kevin and got the feel of bleach in my eye and hamster in my sink, thank you very much Lionel Shriver. I read The Snow Child which was like Crystal Light with extra Splenda (that is not a compliment, in case it's not clear). I read The Silent House which gave me the willies (that is a compliment). I read the The Deptford Trilogy because every year I have to read something by Robertson Davies and like it and then forget what it was about. I read the Donald Antrim triple-decker (one, two, three), and those were the greatest old new things I read this year. I re-read Good-bye to All That and Tender is the Night and Midnight's Children. I did not re-read The Tin Drum or Middlemarch or The Chronicles of Narnia or any Sherlock Holmes stories, and I really feel it in my bones that I did not re-read these things. I did not re-read The Corrections or Cleveland's History of the Modern Middle East, which I was going to re-read to remember what is the deal with Syria. I only re-read half of one movement of A Dance to the Music of Time (one-eighth, then). I still did not read Witz or Swamplandia! or The Instructions or A Visit from the Goon Squad or Skippy Dies or The Art of Fielding, or How Should a Person Be? even though I spent $30 on it at a book thing to seem like a team player. More distressing, I still did not really read Don Quixote or Das Kapital or War and Peace, or a thing by Stendahl or Ulysses. I did not read one really hard book this year, except one by Buket Uzuner, and that was just hard for me, and I didn't really read that either, just 20 pages. As usual, to compose my Year in Reading is to confront my failures. Resolved for 2013: more paper, less screen. More reading, more revelation. More from A Year in Reading 2012 Don't miss: A Year in Reading 2011, 2010, 2009, 2008, 2007, 2006, 2005 The good stuff: The Millions' Notable articles The motherlode: The Millions' Books and Reviews Like what you see? Learn about 5 insanely easy ways to Support The Millions, and follow The Millions on Twitter, Facebook, Tumblr.
A Word on Weddings Like many people whose marriage impends, I have been initiated into the strange, febrile world of weddings -- a world whose population is varied and ever-changing, a time-lapse version of the actual world. The wedding world is headquartered at sites like The Knot or Weddingbee, where the affianced and the "waiting" (for someone to put a ring on it) alike convene to commune in questionable spelling and reverent platitudes of surpassing banality: "marrying my best friend," and "it's not the wedding, it's the marriage," uttered in the course of a discussion about five-dollar chair covers. Making fun of The Knot or Weddingbee is like shooting fish in a barrel, and most of the womens' interest blogs of the sort I favor have taken aim. But Jezebel cannot tell me anything about tipping the caterer, while Weddingbee bristles with opinions on the subject. Moreover, long after I harvested the helpful hints I needed from Weddingbee, I return frequently to view the forums, which I have found absorbing to an almost debilitating degree. It began with the unkind voyeuristic impulse behind something like The Hairpin's Today's Top Ten Wedding Bee Discussion Board Thread Titles. The Internet, more than travel, more than almost any other thing, gives you a glimpse of how other people live and what they care about. And with weddings being a widespread but mostly un-ideological phenomenon, a wedding website attracts a real slice of life. On Weddingbee there are the expected Marxian differences, as well as significant regional and hemispheric variations. In spite of this, these boards are a friendly place. Women are frequently reminded by the world at large that they are catty and shrewish, but I am often struck by the fierce generosity demonstrated by groups of women unknown to one another (also by the speed with which a group of female strangers will turn to topics of contraception under the right circumstances). As in any community, some members are just assholes. But someone asks if she is too fat to see daylight, and everyone tells her no, no, no. Someone loses her job a week before her wedding, and the hive gathers round her in an online embrace. Disdain for these sites is often of a parcel with another phenomenon the wedding-haver encounters -- a sort of race-to-the-bottom humblebrag about the minimal expense of the interlocutor's wedding, sometimes phrased so that the implication is that the success of a marriage is inversely proportionate to the cost of the shindig. "Had it in the backyard," they say, and the Lord rained down gratis BBQ and compostable cutlery to reward their lack of pretension. Then there is Caitlin Flanagan, who characteristically manages to be right about a lot of things while sucking the joy right out of the world, reminding us that weddings are a colossal, farcical, tasteless, and needless expense representing a hollowed-out institution -- just another example of our sick culture. Everyone has their own line for what constitutes folly. I am not without my own strain of Flanaganism. But one thing I really like about weddings is that though they are a folly, they are to the best of my knowledge a relatively universal folly (and one of the few driven by some ostensibly joyful and optimistic instinct). Even in less libertine cultures than my own, they often represent a union in which not a shred of virginity, financial health, or, sometimes, likelihood of enduring love remains. Even so, we are going to get spruced up, create a festive atmosphere of one sort or another, and take photographs. In a thousand languages, people spend money, fight about the guest list, and try not to get any unsightly hives on the big day. Then, they try to stay married. We are unlikely to make ourselves less stupid than we collectively are, so we should have parties. My own experience of wedding planning has been a very traditional cocktail shared with my beloved, composed of anxiety, guilt, and joyful anticipation. Like many people, I made a lot of lists of things and fretted too much about some things and not enough about others. I did things that were called "wedding planning" which were actually just mindless Internet trawling, looking at pictures of things that have no bearing on my life, and patting myself on the back for at least not being as x as the people who say y on Weddingbee. What the wedding sites made clear to me about weddings generally and ours in particular is that they are inevitably one iteration of a thousand other weddings -- a melange of logistical and aesthetic decisions dictated by social forces largely imperceptible to you. You find that choices you believed you had arrived at quite on your own are some current staple of Pinterest, totally characteristic of your particular station in life. My demographic, evidently, is very fond of the "rustic" and the "vintage." And while I have grown to shudder at these terms (one wedding theme I read about: "vintage books"), part of it is the pain of realizing that you are part of a vast, rushing current, and your tastes are not your own. I eventually resigned myself to rusticity and sameness, but one place where I thought I could assert my personality (without leaving my fiance totally by the wayside, or course), was the wedding reading. I was confident that Weddingbee could tell me nothing that I did not already know about a pithy piece of writing. How Literature Failed Me in my Hour of Need It is now customary in many weddings to write one's own vows, tailored to fit the bride and groom's individual quirks. Faced with this prospect, some dour inner Protestant stirred and grumbled. I could not picture us telling the assembled that we enjoy fattening food, Breaking Bad, and architectural boat tours. That when I mop the floor, I like to get drunk and listen to Groove Armada. When you sneeze, you sneeze five times. That I promise to always like the Redskins even when they are dismal. No, I am partial to "death do us part." And brevity, ironically. Thus the reading became the one place in the ceremony for a little customization and flair. My beloved also likes books, but I am bossier, and I took the reigns on this project. And since I find literature sufficient for expressing most of what there is to express about human life, the bar for this particular passage was very high. As a bookish person, it felt like cheating to be searching for beautiful passages from the Internet. I preferred for it to happen more organically (so precious, so mistaken). I read books all the time, I thought to myself; surely I should have some interior commonplace book chock-full of beauty and inspiration to consult. But the only two poems I can recite in their entirety -- Philip Larkin's "High Windows" and "This be the Verse" -- are so far from wedding-worthy it's hard to imagine anything worse: "When I see a couple of kids/ And guess he's fucking her and she's/ Taking pills or wearing a diaphragm,/ I know this is paradise." (Or "They fuck you up, your mum and dad," obviously.) I love "The Whitsun Weddings," which is technically a poem about weddings. But while, contra Christopher Hitchens, I think its last line is romantic, the romance is that of life, not of individual human relationships: "A sense of falling, like an arrow-shower/ Sent out of sight, somewhere becoming rain." "Broadcast" is love poem, but a more sneering and cringing love poem there never was: "...Then begins/ A snivel on the violins:/ I think of your face among all those faces,/ Beautiful and devout before/ Cascades of monumental slithering." Most unsuitable for a wedding. And anyhow, Larkin -- more on him later. My favorite poem is probably T.S. Eliot's "Preludes," the last lines of which reveal the haunting ordered chaos of the universe, but hardly warm the cockles: "The worlds revolve like ancient women/ gathering fuel in vacant lots." In a book shop pawing through the poetry, I sensed this was a theme, in poetry in general, and especially in the poetry I like. Tomas Tranströmer seemed promising for a minute in "The Couple," if a touch erotic: "The movements of love have settled, and they sleep/but their most secret thoughts meet as when/ two colours meet and flow into each other/ on the wet paper of a schoolboy’s painting." But that ending: "They stand packed and waiting very near,/ a mob of people with blank faces." It leaves an impression of a lonely echo in a hallway, a little like "Preludes." Googling had seemed like cheating, but I started to Google, and found, predictably, that I was hardly the first person to have had this problem. Book snobs abound. I went to the library and took out several anthologies, including a book of readings specifically for weddings. There are things I have seen before -- sonnets, for example -- but I like free verse. There were many things I hadn't seen. Margaret Atwood has a poem about marriage called "Habitation," evidently used in some weddings. I liked it, stupidly, because it mentions eating popcorn, which happens to be something that my beloved and I do together on a shockingly regular basis. But it seemed a little fraught for a wedding. The last line, "We are learning to make fire," hangs at the bottom of the page, lonely as early man: I pictured us shivering in our damp cave. I liked an excerpt from Toni Morrison's "Jazz" -- "It's nice when grown people whisper to each other under the covers" -- but that's so private, and then the poem invokes an off-stage "chippie" and "stud." I checked out Love Letters of Great Men, but the problem, aside from the sort of ethical weirdness of reading someone's mail, is that great men tended to write romantic letters to a number of different women, which is not really on-message for our marriage (this was not in the collection, but I remember Malcolm Lowry once wrote one of his wives that he wanted to use her toothbrush instead of his own). I looked to the eminently quotable Flaubert in the pages of Julian Barnes' wonderful Flaubert's Parrot. Here's a good one: “You ask for love, you complain that I don't send you flowers? Flowers, indeed! If that's what you want, find yourself some wet-eared boy stuffed with fine manners and all the right ideas. I'm like the tiger, which has bristles of hair at the end of its cock, with which it lacerates the female.” Rumi figures in anthologies of love poetry. I like Rumi, but for a wedding I feel that the Sufis are off-limits. As far as I know, which is not very much, the beloved of whom they speak is likely to be God, or the young man who brings you your wine. Context matters. Also, my favorite line from Rumi is fiercely individualistic: "I drip out of a spout drop by drop -- But like the deluge I crush myriad palaces." (Rappers have nothing on Rumi). I toyed with finding something in Turkish -- but it seemed to me that this was a moment for my mother tongue. And my knowledge is limited, and my favorite Turkish poetry is in any case a line written by the twelfth century poet Yunus Emre, too defiant for a wedding unless it was one disapproved of by all relatives: "What should the ignorant know of us?/ Greetings to the ones who know." Context matters, and that's really what takes Philip Larkin out of the question: he loved Monica Jones so much he helped Kingsley Amis turn her into one of literature's great hysterics, a caricature of a pain-in-the-ass female (Lucky Jim's Margaret Peel). When I think about literature I don't typically dwell on the private life of the author, because it's a slippery slope. But I found when looking for a wedding reading that I became more interested in whether the writer him or herself had been married and gave at least the appearance of contentment. On love, Emily Dickinson basically sums it up: "That Love is all there is/ Is all we know of Love;/ It is enough, the freight should be/ Proportioned to the groove." But love and marriage are not the same thing. Most unkindly, I wondered what the virginal shut-in would know of the long intimacy, the vaunted tedium of marriage. Bizarrely, I veered into some exclusionary policy regarding Auden and Forster, whose circumscribed personal lives were in the broad sense casualties of a bigoted and ignorant society. Nabokov was promising; he is known to have loved Vera, and wrote her poems. But the 1974 poem "To Vera" is just that, a poem to Vera, and seemed to have nothing to do with us. "How I Love You" is Nabokovian in a way that confounds a ceremonial reading: "...gnats:/ hanging up in an evening sunbeam, / their swarmlet ceaselessly jiggles..." There is the religious angle -- a friends' wedding featured Isaiah 43:1-7, which I believe is a particularly badass selection from the Old Testament: "When you walk through the fire, you will not be burned." But novels are my sacred texts, and we are in any case rather unclear in our feelings about the Lord. His brief invocation in Robert Louis Stevenson's cheerful "Wedding Prayer" is enough: "Lord, behold our family here assembled" (which one could also read: "Oh Lord, they're all here.") Poetry letting me down, I turned to the novels that I love. No passage suggested itself to me -- unless you have a very certain kind of mind, you can't survey the text of every book you've ever read all at the same time. And if it's not cricket to go looking for a previously unencountered reading that somehow has meaning to you, it's equally uncricket to read everything with an eye to appropriating some piece of it for your marriage ceremony. But I began to see that's how I should have been reading for the entirety of the preceding year. What had I read most recently? We Need to Talk About Kevin, for chrissakes, and a book about rabies. I reread Goodbye to All That, which Graves closes with "...marriage wore thin. New characters appeared on the stage. Nancy and I said unforgivable things to each other. We parted on May 6th, 1929. She, of course, insisted on keeping the children. And I went abroad, resolved never to make England my home again..." My fiance had most recently read Travels With Charlie, and suggested I look there. But Travels With Charlie is about a man and a poodle, and the poodle goes "ffft." I began to comb through my favorite novels, but from the outset it was clear that most would never do. There's Burmese Days or Of Human Bondage, where goodish men are driven mad by worthless women, with differing outcomes. A Suitable Boy is a spectacularly romantic novel, weddings all over, but it portends falling in love with the man you can marry, in lieu of the one that you can't. The Tin Drum, full of obscenity. Wodehouse, too facetious. The aforementioned Lucky Jim closes with a romance, but it is a revenge story, against all Welches and Margarets, rather than a love story about the well-formed Christine. Iris Murdoch's novels are full of bizarre marriages and strange perversity. (The Sacred and Profane Love Machine, anyone?) Till We Have Faces, jealous sibling love and spinsters. I opened Possession, even Swann's Way -- they presented unyielding blocks of text. The closest I came was from A Dance to the Music of Time, and in fact explained why I was having so much trouble: A future marriage, or a past one, may be investigated and explained in terms of writing by one of its parties, but it is doubtful whether an existing marriage can ever be described directly in the first person and convey a sense of reality. Even those writers who suggest some of the substance of married life best, stylise heavily, losing the subtlety of the relationship at the price of a few accurately recorded, but isolated, aspects...Its forms are at once so varied, yet so constant, providing a kaleidoscope, the colours of which are always changing, always the same. The moods of a love affair, the contradictions of friendship, the jealousy of business partners, the fellow feeling of opposed commanders in total war, these are all in their way to be charted. Marriage, partaking of such -- and a thousand more -- dual antagonisms and participations, finally defies definition. It defies definition, and yet I wanted something romantic, weighty but not melancholy, in English, about marriage. It was finally Louis C. K. who drove it all home, how hard this is to do: ...Or you’ll meet the perfect person who you love infinitely and you even argue well and you grow together and you have children and then you get old together and then SHE’S GONNA DIE. That’s the BEST CASE SCENARIO, is that you’re gonna lose your best friend and then just walk home from D’Agostino’s with heavy bags every day and wait for your turn to be nothing also. That is indeed the best case scenario, the lost best friend, that friend so abstract on the Weddingbee message boards, so real in practice. I listened to Donald Hall reading about the death of Jane Kenyon on This American Life and bawled my eyes out. In the end, I stood again in a book shop, rifling through every poetry book they had. (In the course of the hunt I was descended upon by the proprietor, and because the last thing I wanted was someone's advice on the matter, remained mute on the subject of the wedding and was thus compelled to read two suggested Bill Hickok poems while he stood watchfully at a remove.) Finally, I picked something, a poem by Billy Collins from his collection Nine Horses. I picked something, but what I thought was even better in that collection was something else, "Bermuda," which is basically a poetic version of the Louis bit. A husband and wife lie together on a beach: "and the two of us so calm/ it seems that this is not our only life,/ just one in a series, charms on a bracelet,/ as if every day we were not running/ like the solitary runners on the beach/ toward a darkness without shape/ or waves, crosses or clouds,/as if one of us is not likely to get there first/ leaving the other behind,/ castaway on an island..." It turns out that it was hard for me to find a good wedding reading because I'm a gloomy old bastard. There, it would seem, is the rub. But I wasn't going to put this foreboding stuff into the wedding ceremony. No, with several days remaining until the wedding I picked Collins's "Litany" ("You are the bread and the knife,/ the crystal goblet and the wine"), which I thought was lovely and romantic and yet also conveyed the promised prosaic qualities of long relationships. It's funny, but not too much. I find the long dashes of the last lines poignant: "You will always be the bread and the knife,/ not to mention the crystal goblet and -- somehow --/ the wine." There is an element of the sacramental which appeals to me, something that begins to approach the reverence I feel for my own beloved. After all this, after the fretting and gnashing of teeth and weeping over sad poems and vases in empty rooms, I learned I could have found my reading on the Internet. It's on a list of wedding readings compiled by Publisher's Weekly, for one. I could even have found it on Weddingbee, where some fiercely unique soul, someone just like me, recommended it in a thread five years ago, lauded as a "a quirky expression of love, perfect for an English major who likes playing with metaphors." But I don't care, I've got my love to keep me warm. Image via camerakarrie/flickr
In our benighted age, which is as scornful of navel-gazing as it is desperate to find new avenues for its pursuit, memoirs and autobiographical writing proliferate and in proliferating incite bitterness. Long personal pieces on, for example, Salon or Slate are usually accompanied by several hundred comments, mostly variations on "I can't believe someone got paid for this" or "I hate you." In many respects I'm as likely to be a hater as the next embittered internet user, but I think memoirs are nice. The Liars' Club, Hons and Rebels, Goodbye to All That--I like me a memoir, you might say. The obvious caveat is if it is crappy. What I found so bewildering about the James Frey controversy was not that he had made things up, but that people had enjoyed his prose enough to feel personally betrayed upon learning of the author's (rather transparent) perfidy. I would rather read forty-five leaked, unedited Twilights than one authentic, inauthentic Frey. That said, I'd like to offer up a set of memoirs I feel that only a really first-class hater could malign. They are by Beverly Cleary, one of the architects of post-war American childhood, without whom we would have no Beezus or Ramona or Klickitat Street. In addition to being the hero of children (now grown-ups, although I hope children still read Ramona books), she's also a fine memoirist. A Girl from Yamhill and My Own Two Feet are my personal cure for winter blues or bad news or just generally feeling sort of droopy and dépaysé. The first book, A Girl From Yamhill, documents Cleary's childhood in Depression-era Oregon, from early years in a farm town, to schooldays in Portland, to her departure for junior college in California. In My Own Two Feet, Cleary goes to junior college, goes to Berkeley, falls in love, graduates library school, and starts a career that included a wartime stint in a barracks library. Yamhill is the better of the two, I think, but only by a minute measure. Perhaps it's the influence of her long experience of writing for children, but there is something very immediate and compelling in the written memories of her own childhood. Cleary maintains elegant balance on all fronts--she is warm without being sentimental, honest without being maudlin, probing without being neurotic, frank without being prurient. She writes about moving from small town to big city, the specter of pioneer ancestors, the pathos of only children, restless mothers, crooked teeth, perverted uncles, gloomy boyfriends, and tonsillitis. She writes about discovering the pleasure of reading and of writing. She writes about the uncertain times, her own uncertain future, and the miracle of California and junior college--begun with a solo trip on the Greyound bus, five dollars in her stockings. It sounds appallingly smarmy, but when I read these books they give me a little national kick. I don't get misty when I see a bald eagle on a gentleman's tank top, but I have a soft spot for well-told narratives from across our geographic and cultural landscape. I like to read about the spunky women who went to college and made dresses out of old shirts and dreamed of writing children's books. Cleary writes on the familiar beauties of Mount Hood and the unique revelation of California, where avocados are eaten off the tree and Crab Louie abounds. She writes about San Francisco, which might be the most beautiful city in the world. She writes of driving over the Bay Bridge, newly opened to traffic, and of seeing the unfriendly scrub of Siskiyou County for the first time. These are books that make you feel the American West right in your bones. I first read these when I had mostly outgrown Ramona but yearned for more Beverly Cleary. Maybe it's because I was a young adult (as in Young Adult Fiction) before the advent of sixth-grade sexting, but I found these books meaningful even seventy years after the girlhood they described. I just read them again, and I'd like to think that they transcend time--that they're just right for precocious little girls, ornery millenials, the young and old alike.
I like to read novels, obviously. Until recently, I very seldom read anything but novels. Until recently, I preferred my facts to be folded into stories, particularly those featuring sexy ladies or illegitimate children or going to Oxford. Occasionally I would read an "historical novel," especially if it was by James Michener, especially if I found it in a hotel lobby. I read it, assumed it to be full of true things, and resolved to remember one of them should the subject ever come up in conversation. For example, if anyone mentioned South Africa, I might recall Michener's seminal work The Covenant, which I found a hotel in China and read on the train. Then I could say "The Broderbund, so evil, so sad," and hope that the conversation ended soon. I confess: all I know about Alexander the Great I learned from Mary Renault (and how). That was then. My life is different now; now I read with a notebook for writing down dates and important facts about caliphal succession. I notice, and probably my classmates do also, that I am vague on the finer points of Important Things in History. I sound, I suspect, like a person whose educational keystones are hundreds of novels, a shaky reading of Edward Said, and liberal blogs filled with rather broad humor. Then again, perhaps a familiarity with novels does not leave one so unsuited for the study of history. Evidently, many historical sources are novels of a type, except more boring. I, Claudius is a special novel, one of my favorites. Not only is it my go-to source for Roman history, it is a masterpiece of the form--the novel, I mean, not its degraded cousin, the historical novel. I, Claudius is also sort of a miracle, something that Robert Graves, who identified as a poet, wrote simply as a way to make fast money. The things I have done to make fast money include working in a toy store, answering lewd customer service emails, and editing someone's college paper about the movie The Piano with Holly Hunter. What Robert Graves did was read scores of historical texts in the original Latin and Greek. He then used said texts to write a riveting first-person narrative about the history of Rome 44 B.C. to 41 A.D., subsequently making a boatload of money because it was so infinitely readable. Then he wrote a sequel, Claudius the God and his Wife Messalina, a seamless continuation of the first book. This is when people who wrote things other than Teen Paranormal Romance could get a contract for a sequel. Imagine it. All I know about Roman History I learned from Robert Graves, and it can be summed up as follows: Livia convinces Augustus, first emperor of the Roman Empire, to leave his first wife and marry her; she then uses her position of power to poison almost everybody. Tiberius, meanwhile, is doing something so perverted they can't even tell you what it is. Common consensus holds Claudius the Stammerer (the narrator) a nitwit, but he is smarter than everyone and ends up in charge before marrying (for political reasons) his own awful bag who brings him down. There is the eternal wrangle about whether Rome should be a Republic or have an Emperor, familiar to those of us who have seen the movie Gladiator. Romans had different ideas about family than modern people do, so everyone is constantly adopting adult children and marrying one another, which is sometimes confusing. Furthermore, everyone has one of four possible names, plus some extras, in varying order, but Graves does a remarkable job of keeping it relatively simple. I, Claudius and Claudius the God have the uncanny effect, true of other well-written historical fiction (I'm thinking specifically of Mary Renault's Alexandriad, and among them, The Persian Boy) of sounding delightfully modern. And it was written two thousand years ago, in 1934. For historians with a sense of perspective and the linguistic chops, ancient sources can feel alive. For most of us without those things, reading translations with little or no context given or effort made to sex things up, primary sources are forbidding. Robert Graves was patently a scholar--consider his massive cross-referenced mythological compendium, The Greek Myths. He was also a great artist. Some of us need Robert Graves or a person like him to read the sources, synthesize, and make them live. James Michener doesn't count; there's a reason James Michener's books are always getting left in hotel lobbies. Knowing that Graves considered himself a poet foremost, I have tried to read his poetry, but prose is closer to my heart. Graves's (partial) autobiography Goodbye to All That is another one of my favorite books. It describes his experiences at school and in World War I, in a wry, warm way. It's the perfect autobiographical writing, the sort that makes you wish the author was a personal friend. Then again, illustrating the eternal problem of historical sources and selective inclusion therein, I read (not in his autobiography) that Graves could be very grumpy, and had woman trouble. But serious woman trouble, as in he had a long-standing menage-a-trois with his wife and another woman, and decided he liked his wife better, and the other woman threw herself out of the window. Then he changed his mind about the wife and hobbled off with the other lady after her bones knitted together. Kind of like a Roman! Except in Rome, his new paramour would have convinced him to exile the wife to a malarial island, so she would get a fever and die. That's history--you'll find it in Graves.