In a week where Tennessee dealt a major blow to democracy, and folks in Wisconsin are worrying about a challenge to the election of a judge (the only political bright spot in my week), and (speaking of judges) we have (new? more?) evidence of corruption on the Supreme Court (not that all of us paying attention haven’t known since the 90’s that Clarence Thomas is several kinds of terrible), and there is a new and frightening move to restrict women’s access to abortion and control over our own bodies–all of which is evidence (as if I needed more) that the political norms I lived most of my life with are gone and a minority is no longer even pretending that they’re not going to take power in whatever ways they can–I come to this place feeling as if I have nothing to say.
These kinds of weeks leave me feeling shut down, with my words all stopped up in my head. The things that occupied that space this week (aside from the above) feel trivial in comparison. But here are a few of them:
The new documentary about Brooke Shields. Brooke and I are the same age, and if I ever needed validation that I came of age in an effed-up time to be a pretty female–in which you had to, somehow, be simultaneously both knowingly sexy and virginal–I’ve now got it. The first episode, which focuses on the late 70’s-mid 80’s, reminded me of just how much it sucked to be a young woman in that time. (Not that I could really see it while in the midst of it. I just tried to fit in and get by and be OK, as most adolescents do.)
Here’s 1977 Rita, wearing her first pair of pantyhose, her beloved puka shell necklace, a new dress, and heeled sandals. I can tell you that she is both pleased with these new grown-up things and uneasy about them.
Just two years later, 1979 Rita has a completely different vibe (despite the fact that, like 1977 Rita, she hasn’t started her period or kissed a boy), and there’s something in these two images, and what that documentary helped me see about the culture younger Rita was becoming a woman in, that makes 2023 Rita both furious and sad.
This is not to say that there isn’t plenty that’s still effed up, but if you want to know about the specifics of what is was like for those of us born female in the mid-1960’s, go watch the documentary.
Speaking of those born in the mid-60’s, I encountered another generational piece this week, “The Dazed and Confused Generation,” written by a later Boomer about how people his age need a different generational label. As someone born in December of 1964–making me, by two weeks, technically, a Boomer, I can relate. I feel nothing like a true Boomer, and while I don’t identify completely with the group he does, what some have named Generation Jones, I also don’t fully identify as a Gen-Xer, either. I guess that’s because I’m a Cusper. Me and Brooke. Makes sense that a kid born to parents of the Silent Generation has often felt invisible and unsure of what rules to play by.
This week I bought more books than I should have. Because of Bethany Reid’s review, I bought Linda Pastan’s Almost an Elegy: New and Selected Later Poems. My purchase was prompted because of this poem (continuing to speak of generations and cusps) that Bethany shared:
The Last Uncle
The last uncle is pushing off
in his funeral skiff (the usual
black limo) having locked
the doors behind him
on a whole generation.
And look, we are the elders now
with our torn scraps
of history, alone
on the mapless shore
of this raw new century.
I’m not the elder generation in my family yet, but many people my age are in theirs. In a conversation this week about whether we are at the beginning or in the middle of what’s happening to our country, I could see how I was gathering my own “torn scraps/of history,” and Pastan is a good person to provide guideposts into the later stages of life. (Any stage of life, really.) I also bought Kate Baer’s What Kind of Woman, because Bethany’s post reminded me of how much I like a certain kind of plain-spoken poetry (Ted Kooser is a favorite in that vein), and I saw it in the bookstore one day after skating. I decided it was time I got over not wanting to buy a book by a popular, best-selling poet. Her writing fits into the plain-spoken category, and I’ve liked some of her poems that I’ve encountered via social media, so why wouldn’t I buy her book? (I’m not going to delve into what my aversion is about or where it comes from. Probably more social programming from my youth that involved responses to Rod McKuen.)
In addition to poetry, I bought a kind of book I never buy: City Farmhouse Style: Designs for a Modern Country Life. I encountered it in the library, and the first house featured looked so much like the Louisiana house Cane and I bought and have begun renovating that I bought a copy and sent it to my mother-in-law (who will be living in the house). What kind of woman buys a house in a part of the country that continues to vote in people she thinks are hellbent on destroying it and that is likely to be impacted by climate change in ways she can hardly bear to think about, and then buys a book that–on the surface, at least–is everything she dislikes about so much of contemporary discourse on home decor? This kind, I guess.
I wanted (and tried and failed) to write about the house, which we began demo on last week while we were on spring break. Here’s a peek at what it currently looks like:
This is the main living area, with doors to the bathroom and main bedroom. Here’s what the bathroom looked like mid-cleanup after demo:
I wanted to write about this house–which means writing about family and history and geography and politics and climate change and mortality and generations–but I got all stopped up with the complex messiness of it all. Maybe I’ll be able to sort it out in time.
Speaking of houses and design and artistic expression, I really liked a home featured on Cup of Jo this week. The owner is a pastry chef, restaurant owner, artist, and mother.
I like the homey-ness of all the images. I like how things don’t match. I like how it resists any kind of label I see in the titles of design books in the library (farmhouse, coastal, cottage, etc.). It’s a colorful, in many ways hand-made home, unlike so many of the ones I typically see in blogs, instagram posts, and real estate listings. (I love real estate listings and follow realtors even though we are not in the market to buy or sell or move.) We’ve painted almost every room in our house white, and my reaction to this house saturated in color has me wondering about that. The homeowner featured in the story passes on a suggestion from a designer to look in one’s closet for clues to our design style, and mine is filled with neutrals in solid colors. I like neutrals and I like our home (a lot), but there is something in the colorful messiness of hue and pattern in this home that really speaks to me and now has me wondering what kind of home 1977 Rita might grow up to choose and create for herself if she’d been 12 in 2007 or 20017 and why 2023 Rita is muted in so many ways and what these things that have caught my attention this week all have to do with what’s happening in the world as I am trying to keep my balance on the cusp of old age.
I would love to hear what’s caught your attention this week, or how you feel about your generational label or what it was like to come of age as your gender in your time or what you’re reading or what you’ve bought (or not) and what kinds of spaces you like to be in. Or mortality. (Good thing I haven’t aspired to write a lifestyle blog, eh?)
This shot makes me think of the last lines in Maggie Smith’s “Good Bones.”
“This place could be beautiful,
right? You could make this place beautiful.”
I’m guessing many of you know the poem and that she’s got a memoir coming out. This excerpt from it made the rounds this week. It’s a good read, speaking of women and their voices and socialization and poetry and success and how much things have and haven’t changed.