And what a year it was. I’m grateful to have come through it more or less intact, of course, because it wasn’t necessarily going to be in the bag as far as I was concerned – or as far as Stuart was concerned. But as my poet friend Martin said to me, “It’s been a charnel house of a year” in terms of those we’ve lost. Casting my mind back to November 2023 I bring them to mind: Dale, Chris, Dennis, Jimmy, Marianne, Ertie, Linda, Kathy, Jan, Janice, Doreen, Richard … all collected by The Grim Reaper and dispatched down their various corridors – Cancer, Motor Neurone Disease, Alzheimer’s, Old Age, Cancer, Cancer, Cancer, Cancer, Heart Failure, Stroke, Old Age, Cancer. I don’t actually think of the Reaper as being that grim; rather, as an efficient administrator with a neutral expression, a sharp suit on under his cloak and a folder full of labels that he attaches to you (see above) before pointing you to where you need to be. Next, please. And those of us left behind, the families, partners and friends, stand up, shake ourselves off, have a cry and dutifully take our places a bit further up the queue. (My mother’s response to hearing that someone had died was to say that ‘the shortlist just got shorter and we’ve all just moved up a place.’ Ever the pragmatist, was Joan).
So Happy New Year, chums, and as you will have gathered by now, I’ve been ruminating on ‘what it’s all about’. If you have a religious faith, you’re probably sorted on that one. If, like me, you don’t, the water is a lot muddier. As usual, I look to the arts to help me out on whatever I can’t work out for myself, and though there are no ‘answers’ available, there are lots of extraordinary poems, novels, films, and so on, whose creators have been wrestling with the same subject matter, and on whom I am happy to lean. Legendary Japanese director Hirokazu Koreeda had a rather lovely take on it with his 1998 film After Life. In this gentle and deeply humane film, he imagines that after dying, we head to a sort of benign bureaucratic organisation which processes us for the next part of our journey. Kindly officials take our details and ask us to recall our absolute favourite memory. Once you have described it, a group of earnest actors and belt-and-braces film makers sets about recreating it on film. Along with everyone else waiting, you are invited into a cinema, where the memories are reproduced on screen. As ‘your’ memory plays, you get the chance to re-live those moments once more before suddenly and quietly disappearing, having been moved on to your next destination, leaving behind an empty seat. If you can’t bring to mind such a memory, or if you just refuse to, you remain in this benevolent Limbo for as long as it takes. (There are a number of films with the same title, so make sure you get the right one if you want to check this out).
My dear friend Kathy and I talked about death and dying for the full eleven years from when we were diagnosed with breast cancer the first time. So many words! We thought we’d got it taped. But as she neared her own death last summer, we were both confounded to discover that we couldn’t find the words to express what we wanted to say; after all of those conversations. What I do remember is that once she was told that there was no more treatment that could be offered, she smiled at me and said “At least I know what my job is now.” I turned that phrase over and over in my head as I drove home. What she meant, she told me, was that her “job” was to die well and to leave her husband and family in the best way she could. For her, it was the process rather than the event that she was determined to focus on.
I was recently introduced to a project by film maker Doug Aubrey, who, having lived his life on the edge for decades – just about every major war zone in the world during his time – was confronted by a diagnosis of thyroid cancer, and found himself engaged “in a completely different kind of war.” Using an avatar, graphic novel imagery and many, many pieces of footage from his past life and career and from his cancer treatment, he has created Legacy of an Invisible Bullet, over 170 short films exploring his reactions to his diagnosis and his reflections on his life experiences. The result is an extraordinary and often unsettling cinematic journey which we are invited to join, and to share his strivings to uncover what it’s all been about. No spoilers, but one of the themes to which he returns on repeated occasions could be summed up as “what matters is what is left behind”. If you are fortunate (and brave) enough to experience Doug’s project in a cinema or arts venue, it will be life-changing. If you can’t, he has helpfully created an app that can be downloaded free from the Apple Store, whereby you can join in at any point on his film journey.
As for me, I also have a creative plan for examining this whole death and dying conundrum during the coming year. Over Christmas 2022 I was propelled by a sense of regret and loss relating to two people who had once been very close to me but had since died, to write a one-act play called Dear Madeleine. It’s about two former friends and lovers who meet each other for the last time when one is in a hospice, having not seen each other for years. They easily fall into their old friendship, but what isn’t easy for them to work out is what they are going to say to each other on this final meeting. Mind, this was before I had been diagnosed with neuroendocrine cancer, before the scary spinal surgery and before Stuart’s cardiac events. Along with my pals in Da Choys drama group – Jacqui, John and Barnum – we started to rehearse it with a view to staging it at Mareel in the summer of 2023. The subsequent carnival of diagnostics, tests, scans, biopsies and other surgical interventions scuppered it well and truly, and it has been on our several creative ‘back burners’ ever since. Whisper it (because as I said last blog, you never know who’s listening) but we hope to get it on to the stage, and possibly on to film, in June this year. Meanwhile, a sobering number of films and books have been screened and published dealing with the same subject matter since then, and my ego is left ruefully fearing that the audience will think I nicked these ideas … (cue over-lengthy and probably over-the-top denials and self-justifications in the ‘writer’s statement’ section of the programme). So for the record, I have never seen The Unlikely Pilgrimage of Harold Fry (unless you count repeated exposures to the trailer, after which you don’t really need to watch it all) or The Room Next Door (although in that case I wish i had seen it).
Just saying, is all.
“You’re being a bit maudlin,” said Ripley, looking over my shoulder at the screen.
“No, I’m being pretty damned positive actually. About books and poetry and plays and stuff. And films – especially about films.”
“Does that mean you’re finally going to watch my sequels after all these years?”
“Nope.”
“Well that’s hardly being positive, is it?” she said, raising a judgmental eyebrow.
“As far as I’m concerned, Rip, the story goes as far as you and Jones the Cat, asleep in your hibernation pods, sailing back to earth from space, whereafter you retire and you both grow old together in peace on the couch. That’s the only sequel I can manage. Call me a wuss, but -“
“You’re a wuss,” she said, picking up Genghis and carrying him to the sofa. “But hey, we can pretend.”
Or, in the words of the late, great Irish poet, Derek Mahon, whom I have probably already quoted somewhere further down this blog, “There will be dying, there will be dying / but there is no need to go into that… / …. the sun rises in spite of everything/ and the far cities are beautiful and bright …/ …Everything’s going to be all right.”
So lots of love from several places further up the shortlist. Especially to those of you who are missing someone whom it was a privilege to know. Grief, as my friend Joan M said to me, is the price we pay for loving and having been loved. That seems fair.
Normal service will be resumed when the days get longer.