Photos of dancers, and other fragments

 I spend a lot of time thinking about getting older these days.

I don't mean I have anything profound to say about it. Nor do I exactly sit down and dedicate time to thinking about getting older. Rather, as I go about my day, I find scenes from my past flitting across my memory. Something - an artifact, a photo, a phrase, a seen or remembered place - suddenly conjures up a memory. The content of the memories is not necessarily compelling, rather something of the atmosphere in which the memory was made.

For example, this year, as Christmas approaches, I often find myself remembering leaving my university after classes to go Christmas shopping. I would walk to the nearest mall, then ride the bus back after making my purchases. I remember watching the sunset through the windows of the bus. It is the ordinariness of the memory that makes it unforgettable.

Currently I'm re-reading (after a period of quite a few years) Jennifer Homans' Apollo's Angels: A History of Ballet. The first time I read this book, I was pleasantly startled by the nostalgia I felt. It's the same reading it now. I was never a professional ballet dancer, or anything resembling one. And yet there is something so familiar about the people, the values, and especially the "scene" Homans describes. It brings to mind a kind of shabby-elite aesthetic. Daydreams lived out in bargain-renovated studios. The secret glamour of tulle and sequins hiding in a garment bag. When I was growing up dress-up clothes were in short supply. My daughters have had piles of floofy dresses from the time they were toddlers, but I only glimpsed such things occasionally. I wasn't even allowed to wear the tutu my mother made me except on parent viewing days. I have always associated the arts with genteel poverty. Musty rooms, scratched hardwood, lumpy linoleum, dusty curtains, old photographs on the walls. And yet there is nothing at all sad or pitiable about such memories. Maybe a kind of glorious sadness.

Today, I admit I don't try very hard to save money on my daughters' dance clothes because I crave the magical feeling of going to the dance store. When I was child, we would buy ballet shoes and uniforms at Classique Dancewear. They closed permanently a few years ago, hence my melancholy pleasure at typing out the full name. I clearly remember walking down the stairs to the store in the basement. Beautiful high-heeled ballroom shoes sparkled in glass cases. Mannequins modeled pancake tutus, the kind I knew I would never wear, because my mother could not get the tulle to stick out like that on my homemade tutus, no matter how hard she tried. And sequins, sequins in all colours sparkling everywhere. I never got to indulge in such frou-frou, however. My mother bought the Royal Ballet standard leotard and tights, and of course, new ballet slippers. The ballet slippers came (as they still do) in a flat cardboard box, one of many stacked on the shelf. I thought of this when I read (and viewed) the scene in Harry Potter where Harry buys his wand. The store where I shop for my daughters is welcoming, brightly lit, and very pink. Classique Dancewear on the other hand was Diagon Alley-meets-Moulin Rouge.

I fell in love with ballet after seeing a performance of Swan Lake. My first ballet classes were not at all like Swan Lake, however. They were in a run down, industrial part of the downtown. Maybe it was an artsy-fartsy, bohemian neighbourhood, but I didn't know what that was at the time. I just knew it was a bit scary to go to ballet. My mother would park near the railway station and then we would run across half a dozen railway lines to get to the studio, sometimes in front of an approaching train. I think we'd get arrested now for doing that. Later, maybe to avoid that maneuver, she would drop me off near the studio and I'd have to walk a block or two by myself downtown. I was coached in this and I affected an determined, severe look and manner so no questionable people would think of molesting me. (It worked, apparently).

My first ballet teacher was also a bit scary. I never even knew her name as a child, because we didn't use her name, we called her "Madame." She was old at the time, and most of the active teaching was done by younger women under her direction. But I do remember her once leading us at the barre, with a cigarette dangling from her red lips. She always smelled of cigarette smoke. At the end of class, we had to queue up and give her a hug and a kiss. I dreaded this because I had to smell her, but I wouldn't have dreamed of refusing. I just learned to hold my breath very discreetly.  My father never learned to like or trust Madame. He detested her smoking habit as much as I did, and unlike me had no qualms about expressing said dislike. Most devastatingly, he forbade me from taking part in the school recital. I don't really know why, but it involved (of course) a lot of extra rehearsals and maybe he thought this offered Madame too many opportunities for instruction of a dubious nature. Madame was not happy, and on one occasion even tried to trick me into staying for rehearsal. To no avail. My stage debut would have to wait for more years and another teacher. But I was not entirely sad in the end, because I got to join a more advanced class and ended up ahead of all my same-age peers.

I was perusing Glenbow Museum's "Mavericks" exhibit some years ago, and to my amused surprise, immediately recognized "Madame" from one of the biographies. "Mavericks" may have itself been regulated to history, although there is still a website with a few working links. But thanks to the project I found out my ballet teacher's name: Regina Cheremeteff. And so I can search the internet for her part in history, and a little part of mine.

Her biography:

Regina Bickel, 1912-1992, was born in Berlin, Germany on March 25, 1912. She toured Europe as a child ballerina under the stage name Regina Royce. She also worked as the director of an Italian company. In 1930 she married Count Michael Cheremeteff, ca. 1900-1943, and worked in his equestrian troupe based in Berlin. They had three children, Christina (Olso), Alexandra (Madsen),1933-2002, and Dmitry. She settled in Calgary, Alberta in 1956 and established the Calgary Russian Ballet School, of which she was director, choreographer and teacher until its closing in 1989. She died in Calgary on March 5, 1992 at the age of 79. Alberta Record

YMCA Calgary backs up my memories:

Her students called her “Madame” over the 30-plus years that she trained young ballet dancers in Calgary from the 1950s to the late 80s. ...As a child ballerina Regina Cheremeteff toured Europe en pointe, surviving two world wars before immigrating to Canada and moving to Calgary in 1956, where she established the Calgary Russian Ballet School. Not above trading her tutu for a tool-belt, Regina remodeled her dance studio herself, knocking out walls and tearing up floors.

Allan Cozzubbo Academy of Dance notes:

In 1963 she opened her downtown location on 8th Ave. SW. The school closed in 1989. in 1930 she had married Count Michael Cheremeteff (1900=1943) and worked in his Equestrian Troupe in Berlin. Her three Children are Christine-Alexandra and Dmitry --he became a professional ballet dancer and was a guest at her recital.  

Some additional digging, however, turned up an 1980 Calgary Herald story on Madame. I would recommend this for anyone who wants to know more about her than my few childhood memories can provide. I have retyped it to the best of my ability here, as the scanned article I found is unedited and mixed in with a hilariously dull article on Canadian constitutional politics. Incidentally however, both articles illustrate how much higher quality journalism was 40 odd years ago.

Perhaps most unnervingly, there is a gallery of photos in The University of Calgary's digital archives.

This picture is from 1986, and I'm pretty certain it depicts part of the performance that I was not allowed to participate in. If I had taken part in that recital, I could have been in this photo or a similar one. That's just freaky. Since about 2000, I have gotten used to brilliant colour digital photos that never age. By contrast, this picture and the others in the gallery look absurdly old.

Maybe my favourite photo is this one, however:

It's not the dancers my eye is drawn to here. This photo is also from the 80s, but these young women are older than I was then, although not really that much older, either. But what I like to look at is the barre and walls of the studio beside the posing dancers, because they look exactly as I remember them, though in black and white. I can almost feel that barre in my hand. The top one was close to eye level when I was youngest. The photos on the walls are all of Madame at various ages, in various costumes. I remember yellowed newspaper articles too. I'm not sure why all the archive photos are black and white, since colour photography was definitely invented in the 80s! Perhaps it was supposed to give the photos a timeless, glamourous feel. If so I don't think it worked: there is a campy nostalgia to the photos: All the dancers look like amateurs trying really hard. I don't mean that as a bad thing: it makes them all the more relatable. There is a grounding grittiness behind the fantasy. In the end - for me at least - that was a more lasting impression of ballet than professional perfection.

I clipped this photo for the sake of the young woman kneeling right in front:

I'm pretty sure that she is Miss Mimi, who was one of the younger teachers whom I best remember. Up till this week, Miss Mimi’s identity was as lost in my incomplete memories as Madame’s. But thanks to my digging this week, I realized she is Mimi Haeseker, and she has been “Miss Mimi” to generations of dancers. How awesome is that. And I also remembered she was (is?) a talented artist who painted ballerina bunny rabbits. I could get addicted to this amateur archive hunting.

All this trip down memory lane, and the urge to somehow preserve it here, before the traces disappear further, was brought to mind my Jennifer Homans' description of the diaspora of Russian ballet dancers and teachers in the States in between the World Wars. Anna Pavlova toured the Vaudeville circuit as "'Pavlova the Incomparable": [appearing] alongside minstrel shows, baseball-playing elephants, and other popular acts. If the theatrical fare tended toward the light, however, Pavlova and her audiences had no doubt about the seriousness of her art. Her natural charisma and ardent commitment left a powerful impression on an entire generation of American and European dancers." Madame would surely have been one of those who watched and learned. Homans continues:

"Pavlova was the most famous, but there were dozens of Russians like her: they toured America in various Ballet Russes spin-off troups between the wars (some carried on into the 60s) introducing - and converting - several generations of audiences to classical dance. (page 450) ...... "When they were too old or tired to perform, many of those dancers opened schools: they fanned out and set down roots in cities and towns across the country. .... Performance by performance, class by class, over many years, these itinerant Russians passed on their tradition. Not only steps and techniques: they brought to their lessons the entire Imperial orthodoxy of Russian ballet, and it was in their sweaty encounters with students that the long process of transplanting ballet to American minds and bodies began. (451)

Although Madame was German (married to a Russian) she branded her school as "Russian Ballet," and I see her as the heir of those Russian teachers, albeit about a generation younger. And I particularly like the description of how ballet becomes absorbed into dancers' minds and bodies. There's something grounding for me in reading Homan's book, and reading about Madame's life. Even if my cultural inheritance is fragmentary, those fragments still come from somewhere. I am the inheritor of something; I don't just exist alone, attempting to make it all up.

up the mountain, making a trail (two)

 I'm continuing to read Robert Orsi's History and Presence, alongside A Comparison of the Mennonite and Doukhabor emigrations from Russia to Canada, 1870-1920, by Robert Sawatsky. The purposes of each writer become clearer as I read, and my personal feelings and motivations can temporarily recede a bit, to come back later (one assumes) with greater clarity. I'm noting quotations from each as I go, and already have a significant amount of copied text and scribbled citations. I have a pleasant sensation of curiosity that is not fettered to any conclusion yet. I'm also having a flashback to my undergraduate days, when I seemed to have a knack or doom for finding the dustiest, obscurest, smelliest books in the library. Of course the dust on an online text is non-literal, but I think I can still see it out of the corner of my eye.

Anyway. Here is a passage from Orsi that resonated, on the topic of encountering a saint or deity. It references the story of Bernadette at Lourdes.

The testimonies visionaries give of their experiences are not exhaustive [...]. Both those who see and hear and their interlocutors sense that there are levels and dimensions of what is happening to and around them that are not completely within their grasp. To understand an experience, including an experience of real presence, involves relationality, conversation, doubt and ambiguity. It entails tracking back and forth between one life and other lives, as Bernadette and her family and neighbors did in their efforts to begin to understand events in the woods outside the village. But they did not succeed in containing the experience, which was probably not, in any case, their goal. "Life might be understood as precisely that which exceeds any account we may try to give of it," and this includes accounts of our life and the life around us that we give to ourselves, as well as to others. No life is to thoroughly embedded in given structures of meaning, discourse, and power as to be fully accounted for by them, just as meaning, discourse and power are rarely hermetic, coherent, unidirectional, and stable. Narratives of encounters with the saints are simply not isomorphic with experience, just as the holy figure is not completely identified with any one social environment. These stories are incomplete, contingent, and intersubjective. They are shot through with "unknowningness," studded with "opacities." Talk about the Blessed Mother and the saints is contingent upon the unpredictable supernatural figure and the never fully knowable lives of the others with whom stories of what the Blessed Mother has done are shared. Such stories are always in three voices, at least. There is the Virgin Mary, the one speaking, and the one listening.  In these exchanges, aspects of one's life previously unknown or unacknowledged may be discovered. The imagination takes hold of the world as the world takes hold of the imagination. This all belongs to the experience itself and to its history. "Human culture, like consciousness itself," Jackson writes, "rests on a shadowy and dissolving floe of blue ice, and this subliminal, habitual, repressed, unexpressed, and silent mass shapes and reshapes, stabilizes and destabilizes the visible surface forms." Bernadette was not an already, once and for all fully formed subjectivity when she entered the grotto where she saw aquero. Her experience of the supernatural other did not arise on securely and fully constituted discursive grounds, nor was it completely containable in the stories that first Bernadette and then others told about their experiences of her and of Our Lady of Lourdes.

The Blessed Mother lived in others' lives and they lived in hers. The apparitional figure standing in the grotto was at once known and unknown. She was an appearance. No story about what happened or happens at Lourdes is ever a secure medium of world making or meaning making, subject formation, or power because the narratives of this experience are never free of the interplay of the known and unknown, conscious and unconscious. There is always an excess of intersubjectivity in encounters with the Blessed Mother and the saints, and there is excess in the narratives that precede and follow from them, too. The experience arises on the shadowy and dissolving floe of blue ice. (pages 62-61)

This is an admirable effort to say in precise language that some stories and experiences cannot be contained inside an interpretation even as they attract people to try and interpret them.

I am particularly intrigued by the sentence "there are always three voices, at least : the Virgin Mary [or other saint/presence, I would presume] the one speaking, and the one listening." This reminds me of the Caedmon story which turns on speaking and listening.

As I read Orsi's accounts of spiritual experiences and the interpretations of them by philosophers and theologians and heretics and all-sorts who wanted to the the ones with answers, I also become curious how and where the Doukhabours fit in. The obvious answer seems to be the Protestent side of things, but I wonder? They very much prioritized personal spiritual experience. But they did not, as far as I can tell, link it with specific locations or objects.

Other entries in this series:

(one)

Up the mountain, making a trail (one)

So almost a year ago, I had a short online conversation with the Substacker Flat Caps and Fatalism, about his piece "Without Saints." I eventually responded with my own blog entry, called "The Saints," where I remembered my life-changing encounter with Caedmon and Hild, and tried re-framing it as an encounter with a saint.

But additionally, in part of our conversation, FCF made this comment:

"....I wonder how common this feeling that you have to make your 'interest' [in saints or some aspect of religion] respectable is. I honestly wouldn't be surprised if there are often seminar rooms with several people all talking in 'respectable' language about something they relate to in a far more complex way.

Have you read Orsi's 'History and Presence'? Your story makes me think of it a lot." (Comments, July 28th 2022)

 I did in fact buy Robert Orsi's History and Presence after that exchange. But when the actual book arrived it look intimidating and I put off reading it. Finally today, a cool May day with rain, the kids at their grandparents', I started reading.

The first few chapters describe the theological disagreements of Catholics and Protestants and how these resulted in violence: rioting, torture, warfare, and (depending on one's affiliation) martyrdom. (Chapter 1, "The Obsolescence of the Gods). Now in the past three years, some aspects of Christianity seem clearer to me, and I even feel something like a call to participate. But, what Orsi describes is completely alienating. Obviously such carnage happened, it is documented, but there is no chime of understanding in me.

Or is there.

Maybe I have just not been listening for it. Maybe it's the last thing I want to hear.

I was born in Canada, with a immigrant Greek father and a Canadian mother of Russian descent. People who hear me say that usually make a few assumptions about my cultural background immediately. Most of them are wrong.

• I don't speak Greek or Russian, and this was deliberate on both parents' part. I never met my dad's parents and while I met my mom's parents and my dad's sister, there was a language barrier.
• I was raised with Christian stories. But not only do I have no background in the Greek or Russian Orthodox churches, I was raised to be actively hostile towards all churches.
• Growing up, I had almost no deliberate exposure to Russian or Greek culture or traditions, though there was some accidental exposure, for sure.
• As a child I celebrated no holidays, not birthdays, not Christmas or Easter or Halloween. Nothing.

Now, my childhood was not terrible; in fact it was extraordinarily rich in many ways. Family has always been my safe place, even when it was complicated, so I'm not trying to make my childhood family sound crazy or anything. Also, there is no doubt in my mind that they were always trying to do what they thought was right.

Still, when I think of my cultural background, it's hard for me to put into words just how fragmented and filled with loss it feels. If I include religious experiences and feelings in there, even more so. It's like an abyss that I only look at sideways, because looking right into it is overwhelming.

But maybe it's time to look at bit more closely at these pieces of cultural inheritance. I will start by learning about the Doukhabours, the Russian sect that my mother's family came from. They were both her cultural inheritance and a group she didn't want to be associated with at all, at least not when she was interacting with people outside her family. The Doukhabours were a sect that developed in Russia, and many eventually came to Canada because of religious persecution. My mother's grandparents were among those that immigrated.

There's some general information on websites, but I'm currently reading this thesis: MQ36523.pdf (doukhobor.org) It is a history and comparison of the Doukhabours and Mennonites. It will take me a while to go through it, so I'm optimistically titling this blog entry as "one" assuming there will be other entries. (But I'm kind of bad at long reading projects, so the likelihood of me making progress, or alternately, just continuing to be angsty and confused are equally likely.)

Observations/questions so far:

• I don't know if it's possible to reach a sympathetic understanding of the early Doukhabours (the ones who lived in Russia). So far I find it hard to relate (several levels of dislocation). It's natural to want to find points of sympathy with one's ancestors, but so far not.
• The history of the Doukhabours frequently involves isolation from the mainstream society as they tried to maintain their culture and religious practices.
• Many of the bloggers/stackers I read speculate about stepping away from an increasingly technological society and forming "parallel societies". There is logic to it, even a sort of cool "rebel" factor. But reading Doukhabour history should give one pause before promoting this idea. Corruption, scandal and misery are all just as likely in an isolated society, if not more so. It's rather depressing to read about, truthfully.

The metaphor in the title:

My maternal grandparents' property included a small forested mountain. On occasion, my brothers and I and sometimes my parents would hike up it. There were no trails and I remember these mountain excursions as challenging, exhilarating and spiced with a sense of risk and danger. In reality it couldn't have been more than a half-hour hike and I didn't have any trouble even as a small child. But there was a powerful sense of being off the map, away from the civilized world, into an unknown. So that is kind of how this research undertaking feels.

I will also try to continue reading History and Presence. It will be helpful background info I'm sure. Also I'm curious what exactly reminded FCF of my writing in the book, because it certainly is not obvious yet.

Other entries in this series:

(two)

Flashback to 2016

I was scrolling through some unpublished posts on my other blog, and I came across this one from October 15, 2016.  I titled it: "The things I have to say that don't fit anywhere."

At the time, torthúil journey had a small but established and homogenous readership. Just how homogenous, I started to realize after the 2016 American election, when I saw my small community all express essentially identical political and cultural views. It wasn't long before this started to bother me, not so much the views themselves, but the fact there were no dissenting or different voices. Furthermore, I didn't even see difference or dissent valued in the abstract. Naturally, I didn't share these raw thoughts on that blog. They seemed almost scandalous then. This was before I discovered Jordan Peterson and the movement some call the "meaning crisis," before I started learning about Christianity, including Jonathan Pageau and Fr. Stephen Freeman and others, before Covid, before I (mostly) quit social media. Since I wrote these words I have accepted these observations about myself, have thought about them and addressed them, have in some ways moved past them. But I thought they would be interesting to record and share, especially in the context of the post about books. I think my thoughts here go some way toward explaining why I am reading and learning about the things that I am.

They also mark a moment in time, and one that I am no longer self-conscious or embarrassed about. These things I had to say do fit: they are an important part of my journey.

The things I have to say that don't fit anywhere (October 16th, 2016)

Surrounded by propaganda. People taking "sides." Most of those sides don't fit with my questions, my concerns, my beliefs. It all leaves me with a feeling of unreality.  What is most obvious to me is that I've lost interest in culture. This might sound like an esoteric problem. Reading novels and going to concerts and comedy clubs and plays is hardly essential to survival, right? I'm reasonably healthy; I have a job, a family, a house, some (rather neglected) friends. But my avoidance of culture is a huge break from how I lived most of my adult life. Concert halls were a home to me as much in a way as my physical home. I identified with certain artists and felt they spoke for me, gave my inner life voice and connected me to a larger community. No more. I feel like when I go to an event, the artist (and the audience) is going to start signalling, openly or covertly, about which side of the culture wars they are on. I respect people's freedom of opinion. But the constant signalling/side taking leaves me with the feeling that the event I'm going to is meaningless in and of itself. The artist and their work is irrelevant, or at least secondary, an (possibly) amusing distraction. What truly matters, what people truly care about, is which side the artist is on and which side their audience is on. That is where the solidarity comes from, not from the fact we have all come to this place because we value the cultural artifact on display. So I end up not going. For a couple of days I make up my mind to go to an event; I might even tell Mr. Turtle that we should make plans. A few weeks later, I realize I never bought tickets, the event is passed and I don't really care. It has happened again and again. It's not just that I have a toddler and an intense job and I'm busy. I know I won't find the belonging and catharsis I'm looking for, but I will find more pressure and more propaganda. There is no appeal.

And novels. Why is it I enjoy novels? I can take another person's perspective. I can choose to believe in the alternate reality they create. Really, reading novels is like allowing another human to rent space in my brain. They can live there for a while, interact with my feelings and ideas, and when it's time for them to leave, I have a sense of what I learned from the visit and if I want them back. I've always been very generous with renting out my mental space and I enjoy the "visits" a lot. There isn't a type of book I regularly read; if it has words on the page I'll read it. In university I didn't specialize in any kind of literature, though I developed an interest in medieval literature in the later years. I studied with professors who had a variety of critical and ideological perspectives, and I got along well with all of them.

Lately, I have no desire to read novels. At first I thought that this was just because I am more interested in current events and non fiction. That is true. But there is something else going on. I don't want to rent out my mental space anymore. I am less willing (unwilling) to let someone else come into my mind to play. Again, I think it has to do with being surrounded by propaganda. I fundamentally mistrust the stories and messages I get from the media, and from my peers, and from the supposed arbiters of culture in our society, because I see the dishonesty and manipulation. Logically, then, why would I assume that a writer is any different? Why would I assume their morals and motivations are superior to those I see every day? Because they are published? Because somebody wrote a good review? Because a friend told me they were good? Because they are popular? I trust none of those things. But I should still be able to give a book a try and make up my own mind, right? In theory yes. But in in practice, I feel it is not worth the time or effort. What are the odds I will learn something of value, versus the odds that I will be bombarded with more of the same? I don't recall consciously making this decision, but somewhere along the way I decided the odds were against novels being enjoyable or useful. What about escape? I don't want to escape. Or, I feel there is no escape. I might long for it, but I know that escape amounts to surrender and denial. I am surrounded by corruption on a fundamental level, and I have no time for anyone who is not actively engaging with and challenging it.

My City of Lights has gone dark

I listen to the Scottish band Runrig a lot lately. Their high energy music (I tend to skip the ballads) is good for morale or redirecting negative energy.  But sometimes their happiest music is also a touch depressing, especially the songs recorded live. They remind me of the concerts and other live events that have been cancelled in the name of slowing the spread of Covid-19.

Regardless, I have some favourite songs that I listen to regularly. One of these is “City of Lights.” 

City of Lights Live

“City of Lights” (to my ear anyway) is a celebration of the connection and creativity of life in a city.  Although I’ve visited rural areas, and wilderness and nature are important to me, I’ve never lived any length of time outside a city nor have I ever considered doing so. 

I arrived in the city of lights
Enchanted ballrooms where I lost my life
I've closed my eyes
On your fairground smile

From the time I was four years old,  I’ve gone to concerts and live events, and taken lessons in anything that struck my fancy. I feel as at home in our major concert venues as I do in my living room: as soon as I walk through the door and hear the buzz of conversation, I have a powerful feeling of peace, anticipation and belonging.  It’s always been part of my expectation of anywhere I live that I can have such experiences. It is especially meaningful to live in the city of my birth where theatres and concert venues are graced with memories of my childhood, youth and early adulthood. Family outings grew into outings with university friends and dates. Later I would give my parents symphony tickets for Christmas and birthdays. My husband and I also usually gave each other concert, theatre and comedy tickets as presents.

Many of my memories are associated with our downtown, which has a hub of theatres and a big concert hall, surrounded by a cluster of pubs and restaurants of course. I have never actually had a job in the downtown, so I almost completely associate it with dressing up and going out.

Old emotions still burn inside
On solid ground, round the mother tongue
A tower of hope, a joyful sound
You take your time
A hand of aces in a pack of lies
I found my song and I started to sing
Took me away on an olden wing
So far from home

So lonely but not alone

The last time we were supposed to go to a concert was March 14 2020: a band from Ireland. The tickets were my 40th birthday present.  It was cancelled the day before as that was the first weekend the city closed down. Those tickets were refunded though I’m still hanging on to a couple of other sets for events that keep getting rescheduled into the future. If we are lucky, the future really does arrive one day. But maybe not quite the one we imagined.

Last week I went downtown to get my Covid-19 vaccination, an experience I was neutral to negative on, but decided to go through with anyway. As the train pulled into the station, I realized I cannot actually remember the last time I was downtown. It might have been fall of 2019. Without any theatre or music to go to, there was simply no reason to go. If downtown showed up in the news, it was because of some demonstration or other (it’s also where City Hall is located.) That made me even less likely to want to go there, but I wouldn’t have in any case.

I got off the train and started walking toward the convention centre, where I have attended teachers’ conventions for years, but not the past two. It has been repurposed as a mass vaccination clinic. Now, while I wear a face mask indoors, I do not wear one outside. Usually the minute I’m out the door it’s off my face into my pocket. For the first time though, I had an urge to keep my mask on as I was walking outside. It wasn’t fear of Covid per se; there were no dense crowds. Rather I had the feeling that I was walking in a foreign territory, and I wanted to hide or protect myself.  If a suit of armour and a sword had been offered, I would have happily accepted those too.

I actually forced myself to take the mask off because I found these feelings inexplicable and disturbing, and I refused to let myself act on them. Nothing about the downtown area looked noticeably different than I remembered. I was not in a foreign or dangerous country. My behaviour should not change! But the mask went on again the minute I was in sight of my destination, and I felt a distinct relief at being concealed and armoured against the unfamiliar and for some reason, vaguely threatening environment of the city I’ve lived in all my life.

All things considered, I’ve had a happy and stable life the past year and a half. I love my neighbourhood; I love the parks and nature areas we can drive to; I have no quarrel with any person I know, though I see friends much less often. Work has taken the place of most of my social life, and luckily I like my work. But the strange feelings I experienced downtown do remind me of a loss. The loss is the communion with other people around an experience of mutual interest and transformation. They might be friends or family; they might be strangers with whom I only share the experience of being an audience. But it is a loss of connection, and it makes me much more likely to see strangers and even once familiar places in a defensive or hostile light.

In this empire of ache and rhyme

Lovers and best friends are running blind

I don’t run blind now, at least not outside my neighbourhood. I’m wary and I want to be gone, as quick as I can.  There is no city of lights for me in our downtown anymore.

But for all that, I am not going to stop listening to “City Of Lights” or other songs that remind me of happier times. When the real thing is not happening, the memory of it is even more important so that we don’t forget such realities are still possible.

I grasp your hand
Is this the only world I understand
There's a sadness
There's a joy
There's a place
There's a song that will never die
Forever