Category Archives: healing
So it’s been, heck, like seven months or whatevs, and I haven’t updated the Topless Boys Live series in a bit.
Anyway, here’s where things are, with the new glasses as well (no special reason, just hadn’t put my contacts in yet).
I am also finally getting some definition back after several months of feeling podgy.
The most interesting thing about these scars is that the scars themselves are now thin, whitish lines–healing of some kind is still going on simultaneously alongside them, so my skin is a little pinkish there, especially when I’m cold.
I’m used to the way my body feels, but maybe not to liking the way I look. It still surprises me how much I do like how I look most of the time.
Long day tomorrow: class, rehearsal, different rehearsal, performance, different performance. Class starts at 9 AM; second performance ends at 11:30 PM.
Tonight, though, I’m going to go review choreo for an hour or so, then come home and crash.
Yesterday, I crammed in two acceptable ballet classes and a fantastic acro workshop with a guy who’s here with Cirque du Soleil’s Corteo.
We expected partner acro, but it turned out to be basically floor exercise. As it turns out, a lot of my floor exercise repertoire is still very much intact. I got as far as back handsprings before I had to jet off to ballet. Aleks seemed pleasantly surprised (even impressed) with my technique and power, so I left his workshop floating on a cloud of happy.
I was, in fact, as happy as my cat in an empty bathtub. Also rather better at floor exercise.
Perhaps that’s why I spent today feeling pretty decent about myself. I’m occasionally floored by the capability of my body—simultaneously like, “Wow, cool!” and like, terribly grateful at my body will apparently do almost anything I ask of it.
Either way, during modern class I found myself staring into the mirror and kinda liking what I saw. I was wearing a racerback tank that makes me look as much like a gymnast as I do a dancer (and leaves acres of skin exposed to stick to the floor in modern class). For a few minutes what I saw was a broad-shouldered, graceful boy; strong and lean and vital; gleaming with a light sheen of healthy sweat. I saw an athlete; a rather magnificent animal, close-coupled and powerful. I saw, I suppose, what men sometimes see and admire in me. I was reminded of the time that I asked Denis what he saw in my calves, which he all but fetishizes though I have almost always disliked them, and he said one word: “Power.”
Last night, when I was feeling uncertain about doing round-off front handspring on our rather short mat, Aleks said to me, “You can do this. You have power.” It was exactly what I needed to hear: I gave the sequence more vertical punch and less horizontal travel, and there it was, just like when I was ten or thirteen or sixteen.
G-d alone knows what I’ll see when I’m staring down the barrel of the barre tomorrow morning. But it was refreshing to see what I saw tonight.
In related news, I evidently failed to inform my cirque company that I tumble, and they teased me (pleasantly) about that throughout the whole workshop. They were also impressed with how clean, graceful, and powerful my tumbling skills are. Needless to say I’ll likely be using those in upcoming cirque shows 😛
I continue to be terribly grateful that I can still do all this stuff.
Sometimes my body, like all bodies, is a giant jerk—but more often of late it seems like an old friend who’s just been waiting for me to drop by; one who has kept all my favorite games and can remember all the places I like to run and bike and walk. When I dust off a physical skill that I haven’t tried in years, it’s always with a sense of homecoming mingled with a sweet relief.
But looking at myself tonight was something else: the experience of having seen, bit by bit, a thing I somehow missed for many years, and then suddenly seeing it whole for just a moment.
Also, I’d rather forgotten how good it feels to launch yourself into a dead sprint, punch down into the center of the earth, and soar. (I mean, I that in ballet, too, but it’s in a different way.)
It’s good to have that back.
We got the first 30 or 40 seconds of our dance last night.
I like it—it’s completely different in feel from last year’s, very Tango-influenced, rather than neoclassical. Both TS and I are videoing everything from different vantage points, so I was able to see that I dumped my shoulders and core on this wee en dedans turn with the working foot just brushing the ground. It’ll be better next week!
On the whole, though, rehearsal was good. There are 13 of us thus far, and I’m still the Onliest Boy.
I also had a good night in class. Beginner 1 is right before rehearsal, so we arrive in masse and take B1, which means some of us might be a wee bit intimidating to some of the B1 regulars. Still, I enjoy B1, because I don’t have to think about any of the steps at all ever, so I can concentrate on dancing beautifully instead.
Today I hooked up with my friend CP, who is a photographer, to get some headshots and dance photos done. We shot outside, which was interesting: the temperature was okay, but the ground was damp, uneven in places, and (of course) hard, so adjusting was challenging at times.
I got to see the on-camera previews of a few shots (CP shoots on a DSLR), and some were really cool.
One of my favorites, though, is a mostly-beautiful pas de chat Italien with ridiculously effort face. It’s hilarious and honestly pretty cute. (In related news, TIL that executing pas de chats from a standstill often evokes effort face!)
I’m looking forward to seeing the finished pix. They should be pretty cool.
I also snagged a few pix to update my Topless Boys Live! series (even though I don’t go back to Modern ’til next week).
So, there you have it.
I’m at that phase, fitness-wise, in which one says to non-dancers, “I’m still pretty out of shape right now,” and they give you this look:
But dancers will understand, probably.
We’re back in class this week. I’m three classes in and hating, hating, hating everything about myself (except for the fact that I’m no longer dancing with moobs) in class and out.
I recognize that it’s deeply irrational, but that doesn’t seem to make me stop hating myself.
Maybe it’s time to break out the Stare-Into-The-Sun therapy lamp. Maybe it’s time to accept that it’s winter and this always happens to me in the winter.
I’ve found myself on a kind of unintentional and intermittent social media fast, and I think that’s okay. None of my social media streams are terribly stressful, I’m just running on zero alone time, since D is home recuperating from rotator cuff surgery.
Regardless, this is where the ritual of class means the most. I get up; I go to class; I put my hand to the barre and don’t look back (looking back at barre is a good way to fall over and need your own rotators cuffed).
On the upside, I finally installed the heated mattress pad, which probably wasn’t invented to coddle winter-weary dancers but does a reasonable job of it nonetheless.
Next month I’ve got an endocrinology appointment. I’m going to give hormone replacement therapy a try, since my tanking endogenous sex hormone levels are almost certainly not helping. Also going to get my thyroid levels checked, since hypothyroidism runs in both sides of my family and can contribute to depression (and feeling cold and tired all the time).
Even in the midst of this, I’m forced to admit that my petit allegro is improving. When I relax into it, it no longer feels (or looks) like a bunch of ham-fisted hopping.
I keep saying I need to get serious about conditioning, but thus far I haven’t. I’m as afraid of training the wrong things as I am of being unfit. It’s a legacy of childhood gymnastics training—the idea that we must never, never so much as glance at the gym unless a qualified trainer was present to help us not feck up our bodies has lingered long past its expiry date.
BG is a personal trainer in his spare time, so I might do a few sessions with him to get a sense of what I can do without overdeveloping my quads (among other things).
So that’s it. No advanced class today; it’s open house, though, so I’m taking 1:00 class, which is free (though we now have an unlimited tuition plan that has halved my monthly ballet expenses).
Edit: PS—Killer Class is back to being nominally intermediate. It’s still Killer Class.
It’s Monday afternoon: late afternoon, really. I’m feeling restless and lonely. I have all these thoughts in my head and I’d dearly like to have a conversation about them, rather than writing into the ether, but I’m not sure where to begin.
The time of day is a problem. At this hour, in this long, recurring air pocket in my weird freelance life, other people with normal jobs are responsibly working. I’m … you know. Washing the dishes. Debating whether I should eat something else. Doing a mental inventory of the laundry (Do I have a clean dance belt? Yes. Is it one of the good ones? Too late to worry about that now…). Letting thoughts arise and simply go on their way.
I say “percolating” rather than “thinking” because so much of what I’m doing isn’t thinking, exactly. Thinking implies some kind of volitional exercise; it is a thing one opts to do.
I am, instead, doing other things, and “…thoughts,” as the song says, “arrive like butterflies.”
Only, well, not exactly. It is very much a sense of bubbling up rather than descending from above. Not that it matters—either way it’s all a metaphor, really.
Often, it’s uncomfortable. When you’re busy doing something else, and as such not policing your thoughts, it’s really quite startling what floats up from the murky depths. At the moment, for me, it’s a lot of self-hatred and memory and sudden flights of insight into the harshest segments of my own past which I hope to retain but sometimes don’t.
This is, now that I’m thinking about it, not unlike the difficulty a great many of us run into with zazen. You just sit, and while you’re just sitting, everything that’s In There Somewhere finds its way to your consciousness to feck about with your ability to, like, just sit.
- The trouble I run into is the whole sitting bit. If I can sit still for five minutes, it’s basically a minor miracle. I struggle to make it long enough to get to the point at which the Monkey Mind pipes up. I do fine with walking meditation and stuff like that, though.
Which, of course, is part of the point.
As it is, I suppose, part of the point in Just Washing Dishes. You find yourself accidentally meditating, as if Thich Nhat Hanh has teleported in and is standing at your shoulder, saying to you, “Breathing in, I am washing this dish.”
Oops, I guess?
Ironically, whilst ballet is an exceptionally fine way to enter a flow state as far as I’m concerned, it requires so much presence of mind that there’s not really much room for the percolation of stray thoughts.
I used to think that, for this reason, it constituted an ideal form of meditation, or at least that it did for me. Now, I’m not so sure. One of the strengths of zazen (and of its cousin, kinhin, and similar exercises) is precisely the fact that things bubble up from the depths in ways that they otherwise wouldn’t.
I constantly run from uncomfortable thoughts without realizing that I’m doing it. I don’t think I’m alone in this. Most of the time, I don’t even realize it: if I did, I suppose my self-respect would plummet. I believe in trying to face things that scare me.
(Then, I suppose I also believe in choosing my battles, and I could perhaps regard this automatic deflection of uncomfortable thoughts as a kind of unconscious method of doing exactly that.)
So I stand at the sink washing dishes, because our dishwasher is an ancient beast that is both inordinately loud and almost entirely ineffective, which means that if you choose to use it (which, generally, I don’t) you must first wash the dishes anyway before allowing the dishwasher to think it’s doing its job.
I am uncomfortable, but I can’t just plow them back under before I’m aware of them. Nor can I, it seems, usually bring myself to attempt to find someone to talk to in the middle of the afternoon.
The curious thing is that this has, in many ways, been the best thing that could happen to me.
For many years I lived my life on high alert; constantly hypervigilant. Invading thoughts and emotions could and often did provoke a five-alarm response.
For many years I felt that I would, I don’t know, catch fire or something if I neither spoke to someone about the thoughts or did something in response to the internal klaxon.
Yet, so often, talking made no real difference. In fact, I suspect it often made things rather worse.
I wasn’t therapeutically processing thoughts and feelings and memories; I was simply externalizing them as a way of avoiding really wrestling with them. Sometimes, rather than deflecting the thoughts, it only made them shout louder and stick faster. I became caught in storms of fight-or-flight level arousal. Talking about the source of the arousal (or what felt like the source) often seemed only to crank up the perception of danger.
And yet, somehow, uncomfortable as it is, as I persist in attempting to wash the dishes (or just this dish, as is so often the case—when I’m in that place, it’s too much to focus on anything but the immediate thing), I learn that if I remain in place, eventually the alarm bells will subside.
I’m pretty sure this has had a remarkable effect on my overall anxiety level—if ‘anxiety’ is the right word. Who knows? It seems good enough. Anyway, I spend less time than I used to in states of profound vigilance; less time with the warheads armed, as it were.
I become alert, aroused, because something inside me perceives some invisible danger: but the danger passes, and nothing really terrible happens, and each time my brain learns that perhaps the danger in question isn’t real in the immediate sense. My unconscious mind ratchets the Security Alert Level down just a little bit.
This is a thing I’ve learned through necessity. I have left behind the phase of my life in which most of my friends were other college students with giant gaps in their schedules. I now mostly know people with jobs and responsibilities. I have been forced to simply live with very, very wildly uncomfortable thoughts and feelings. Interestingly, I have thus far survived.
I don’t know if I’ll ever live without the klaxons. I am still as wary as a wolf.
If you’d asked me ten years ago, I wouldn’t have been able to conceive of the way things are now, so it seems reasonable to think that, say, ten years from now things will once again be quite different.
There’s another thing, too.
When I don’t divert the thoughts, sometimes they give rise to creative work. I’ve struggled, recently, with the sense that nothing I’m doing as an artist is in any way actually original or creative (then again, how many minds over the millenia have given us some variant on the maxim, “There’s nothing new under the sun?”)—but I think what I’m really struggling with is that trying to create from whole cloth doesn’t work very well for me.
Rather, I do better to let whatever’s in there filter up and appear on its own, and then to build and refine from there.
I have never been a composer of music: when I try to compose, my compositions turn trite, bathetic, even schmaltzy. I play them later and they make my skin crawl.
When I just sit and play, or when I record the stirrings of visiting muses, things work out quite differently. I won’t say that anything I’ve set down will ever be great, but some of it is in fact quite good.
The same happens when I attempt to compose dances without reference to an internal vision. There’s nothing as depressing as the little passage in a half-baked ballet in which you can tell that the choreographer was thinking, “Rats, how on earth am I going to get the prince over to the punch bowl? All right, tombe, pas de bourree, something, something, just need a few more steps…”
That’s how essentially all my choreography feels (to me, at any rate) when I try to wrestle it into being instead of allowing something to surface, then building on that.
And writing is and has always been, for me, an exercise in hearing and recording the voices and stories of people and worlds that speak from within; a kind of visitation rather than an actual act of creation. The formal, authorial work generally comes after: I’m more of an editor, really.
Perhaps, then, it should be no great surprise that the same basic process allows room for healing of a kind that is, while it’s happening, very uncomfortable, but remains nonetheless crucial.
So I suppose that’s something to think about.
There’s a great deal more, probably, that I could and should say about this, but at the moment I need to put clothes on and go to class.
More, then, at some point in the future.
I’ve probably come to this conclusion before, so my apologies if this is tiresome.
I make the same mistake over and over again (what was that definition of madness, again?)—deciding either:
- …that I will somehow throw the neurochemical round-house punch to end all neurochemical round-house punches and knock my depression right TF out.
- …that I’m feeling much better and that, as a result, my depression is just about over and I’ll be fine any old minute now.
Then I find myself flummoxed when I don’t magically turn into … well, not a normal person (as D always says, “Average was never the goal!”), but a not-depressed person … overnight, or when I overextend myself and just can’t even for the next five days.
As such, I’ve decided to adopt a motto that some might call “strategetic” and others might call “cowardly.” In short:
When all else fails, run away
And live to fight another day.
(Coincidentally, this exact phrasing is the motto of Daniel D’Aeve, a semi-cowardly knight [he doesn’t like loud noises, for one thing] and accidental pirate [he doesn’t like boats, either] and the semi-hero of a musical I’ll probably never finish, but who knows. Miracles do happen.)
I’m not going to wrestle my depression into submission. That’s not how this works.
If I keep engaging it head-on, this gorilla will always, always wrestle me into the ground. Depression is like … I don’t know, wrestling some kind of mutant alligator that has gained the ability to steal your strength and make it its own as long as you keep fighting. (I feel like there’s almost certainly a Japanese monster movie about this already, but if there isn’t, there should be.)
As such, I’ve decided to adopt a more conservative tack. I know that I’m too impulsive to entirely avoid wrestling the alligator—sometimes I don’t realize I’m doing so until the alligator is already doing death-rolls at the bottom of the pond—but I’m going to try not to, like, walk up and pick fights with the alligator … even if that means letting it live in my house for a while.
In other words, for a little while, I’m going to try not to do as much.
I’m not going to stop doing everything, of course, but I’m not going to push quite as hard for a bit.
Instead, I’m going to revert to the best strategy I’ve ever found for keeping myself afloat in the midst of one of my moderate-but-grinding depressions: Do Two Things.
Oddly, I thought I’d written a post about this strategy before, but I can’t* find it, so I’m writing it now.
*Which is to say, I ran a search, devoted exactly 30 seconds to looking
for it, and then I gave up because I realized that if I kept it up I’d
start reading old posts and never finish this one.
So, in case you’re wondering, here’s how it works.
First, you get depressed. This makes living seem like a tedious uphill grind, and causes you to write poems empathizing with Sisyphus, and generally makes every single little thing that you have to do in order to continue to remain semi-afloat seem like a hideous impossibility.
Second, you own up to the fact that you don’t want to do anything. You don’t feel up to doing anything. You drag yourself to class because some part of you dimly recognizes that things will only be worse in the long run if, on top of recovering from a depression, you also have to get yourself back in performing shape or auditioning shape or what have you in the span of 3.4 days somewhere down the line. But other than that you feel like you just can’t even.
Eventually, you begin to feel slightly better, and then you look around your house and you realize, Holy Hell, it looks like a tornado crashed through a paper mill, a diner, and a thrift store before chugging right through your door. And also the cat has somehow contrived to get maple syrup on his head (which he doesn’t mind in the least, but you do). And you are out of Kleenex.
Some part of you thinks, “I should do something about all this,” while the rest of you just gazes around at the chaos with the proverbial thousand-yard stare and no idea where to begin.
That’s where Do Two Things comes in. You tell yourself, “Okay. There is no way I can do all of this right now, so I’m just going to do two things today.”
Then you turn to the thing nearest thing—or the nearest thing that feels like you have some hope of accomplishing it—and you do that thing.
The whole strategy hinges on this one truth: that sometimes “Do The Dishes” counts as one thing, and sometimes, “I’m going to wash this one dish” does. Sometimes, getting out of bed counts as one thing, and sometimes completely unmaking the bed, rotating the mattress, and remaking the bed counts as one thing.
It doesn’t matter. You judge yourself by the standard of where you are now. You give yourself permission to wash this one dish and that one fork.
The funny thing is that usually once you get started—once you wash the One Dish—you’ll usually find yourself thinking, “Ah, well. I might as well wash this entire stack; it’s not going to take any longer, really, and I already have my gloves on.”
So often Doing Two Things turns into Cleaning the Kitchen—but you have to remember not to look at that fact too directly, or your motivation might catch your scent on the wind and bolt. Wild motivations are flighty like that.
In my worst depressions, sometimes my Two Things are as simple as getting out of bed to get a drink, then eating a bagel while I’m already up.
When I’m well into recovery, they may be as complex as making the dining room ready for company and re-organizing the closets.
Either way, I give myself permission to feel like if I’ve done my Two Things, then I have done enough for the day.
It is, of course, totally okay to do more than the Two Things. It is pretty much impossible to do less: even in the pit of the kind of depression that keeps you confined to your bed or the sofa, it’s fairly likely that you’ll have to use the bathroom at least twice on any given day. If you’ve been in that place, you’ll understand why that counts. You just start with whatever Two Things are in reach.
Do Two Things acts both as an accessible goal and as a limiter.
If I’m having the kind of day that starts with “I am going to wash this One Dish,” then I know that, no matter how significant an uptick I might feel, I probably shouldn’t tackle rearranging the closets (which always sounds like a good idea, but turns into a nightmare because D has lived in this house for 20 years and almost never gets rid of anything).
Even if Washing the One Dish turns into Washing the Dishes, the knowledge that the first of my two things began as “Wash the One Dish” keeps me mindful of the fact that I’m not yet fully recovered, and that I shouldn’t start burning tomorrow’s matches today.
So there we have it. For the time being, I’m going to Do Two Things. This will help me get through the current slog without overwhelming myself (at least, without overwhelming myself as often).
Anyway, I don’t know if this strategy will work as well for anyone else as it does for me, but feel free to try it if you want to. It’s also good for getting started when you just plain feel overwhelmed, whether you’re depressed or not (this is a key feature of Adulting with ADHD).
Good class tonight (technically last night, at this point). Back to accidental private class mode, but instead of the pyrotechnics, we focused on the details. This meant a very, very long barre in which I did something like 24 super-slow grand pliés in first whilst BW rebuilt, cleaned, and polished my port de bras and épaulement and the coordination of the same with the legs (which know their job fairly well). I keep forgetting that the Swiss have precision engineering in their blood.
This resulted in me actually looking like the danseur I aspire to be (at least while doing grand pliés in first). BW’s patience and precision are the perfect foil for my impatience and impetuousity. He is not at all afraid to make me do the same thing a million times until I really, really get it.
At one point, he said, “You’ve already got more of this than a lot of people. You’ll notice it when you watch people dance.” That’s quite high praise coming from him, and so indicative of something fundamental about him: he never gloats about his own precision and technical prowess; he seems to be frustrated that not everyone has it. But I love him for that, and for taking the time to impart precision and sound technique upon me.
After, we carried that lesson into a deceptively-tricky rond de jambe (relevé lent devant [“Higher!”] with arm in 2nd, allongé as you tendu, arabesque with arm in 2nd, tendu allongé, 4 ronds without port de bras, allongé, cambré into the barre and down the front, tendu allongé, reverse, cambré in and down the back, tendu plié allongé passé balance, sus-sous, allongé, detourné, second side—not complicated, but he wanted it absolutely precise), a lethally-slow fondue with synchronized port, and even the grand battement.
Amidst all these allongé, I discovered that the bones in my left shoulder are clicking. Later I mentioned it to D. Turns out I’ve separated my left shoulder somehow—mildly, but it also explains the ache in the morning.
I may, for all that, have actually done this to myself in my sleep. It could have happened at literally any point. As such, I’ll be working on shoulder stability (read: pumping up the delts, evidently) going forward. My wonky connective tissue probably played a part in this development, and the answer is always “strength training.”
The right shoulder only grinds when I do certain kinds of push-ups, these days, so I’m sure the left will sort itself out. Curiously, I haven’t noticed the left shoulder grinding during push-ups, so it might not even take much to correct it.
A couple years back I noticed that my tuchas has developed an oddly triangular profile.
Recently, I noticed that it has once again returned to a triangular shape.
Today I realized that it’s a function of conditioning: as I progress from (relatively) out of shape to stage-fit, my butt progresses from “round” through “triangular” and finally to “square.”
Huh. You learn something new every day.
In other news, we left at the crack o’ dawn yesterday for Atlanta, checked into our hotel at 3 PM, established a CirqueLouis outpost, then proceeded to regroup with the crew before dinner and Cirque du Soleil’s Luzia.
And speaking of Luzia—you guys, it knocked my socks off.
Luzia is a beautiful show—funny and tender and full of love for a place and for the people k and cacti) who make that place shine, not to mention packed with the high-calibre circus performances that give Cirque du Soleil its stellar reputation.
B on the straps was, for me, the pinnacle—he’s beautiful and performs with ardor and pathos. I don’t really have language to describe his act. It was breathtaking.
We also got to roam around on the stage—which is fecking amazing, you guys; the technology!—and backstage, where the CduS cast trains and gets physical therapy and does everything else and where the giant amazing puppets live.
After we chatted with the cast about circus stuff (and other stuff) over drinks, which was awesome. I tried to do a lot of listening. You learn a lot that way.
There’s much to be said for a life in which a business trip means watching a phenomenal performance and talking shop with phenomenal performers, then conducting a 5-hour long mobile meeting—part post-mortem on their show, part post-mortem on ours, and part spitball session for the next show—on the drive home the next day.
Little by little I feel like I’m starting to understand circus as an art form of its own, discrete from ballet and modern dance and so forth. I really owe that Jordan, our AD, who has been in love with circus all his life, who has built his life around circus, and who is teaching me (the company’s resident ballet boy) to really love circus in its own right.
Depression-wise, I’m making it back now, I think. The edges are still raw, and I need to respect that and not push myself off a ledge by diving back into too much at once. This is going to mean very consciously taking rest days, especially as I reset and shift back to a different rest-day schedule.
We’re halfway through November, somehow: I have roughly six weeks til it’s time to start hitting auditions.
When I headed to Florida back in September, January seemed unimaginably far away. Now it’s right around the corner.
BG, Killer B, and BW are rebuilding me as a dancer. Jordan is refining me as a performer. I’m not yet back to the place in which I feel like, Yes, I should go audition for ballet things, but I’m at least in a place where auditioning for cirque things and ballet-adjacent things feels like it makes sense.
I want to say, “Let’s see where I am in six weeks,” but I kind of think that’s giving myself too much room to weasel out.
Anyway. That’s it for now. I’m exhausted and ready to turn my brain off for the night.
I tend to try maintain an aura of ebullient optimism.
I’m aware that I lead a relatively charmed life, in which I’m permitted by circumstance to pursue a fairly impractical set of goals, and to mention that I still struggle seems a bit like spitting right into the face of good fortune.
But I do still struggle, and I’m beginning to understand something, which is this: living a life in which I’m not forced to do work that grinds my soul to powder, in which the work I do is work that I enjoy, doesn’t alter the fact that my mental health is a little fragile and that history and genetics have conspired to place me on a narrow bridge that spans a yawning chasm.
Rather, the life I’m living acts as a kind of safety harness, so that when–not if–I go plummeting off my bridge, I can eventually climb back up, or at any rate be hauled back up by people who love me.
I am capable of periods of immense creative productivity, but they’re interspersed with periods in which merely surviving is still all I can do. Those periods of mere survival are made easier to bear by the knowledge that I won’t have to return, as soon as I’m barely able, to work that will inevitably accelerate the arrival of the next plunge off the bridge.
Because D carries the vast majority of the weight of the financial responsibility of keeping us afloat, I’m able to get up and walk along my bridge for long periods, when in the past I rarely made it beyond the clinging-and-crawling-along-the-edges phase before I slipped again.
I don’t make much money doing what I do, but I usually have enough energy left over to keep our house comfortable to live in and to cook good food.
Yes, I’ve resorted to counting down the days until I’m cleared for all the things.
The problem is that I really want to do handstands for some reason. Like, right now.
Normally, when I want to do handstands, like, right now, I just do them. (Often, when this happens, it’s because I’m trying to think my way through a sticking point in my technique and my nonverbal mind thinks it’s on to something. Sometimes, though, it’s just for fun.)
I may have done a few wee petit allegro jumps in my kitchen (which is far too small even for medium allegro) last night. It might have felt good.
I decided I was ready to get back to barre when I found myself doing turns in my kitchen. I don’t think I can justify doing allegro of any kind (excepting the occasional step in my kitchen) until I’m 100% cleared.
So, needless to say, I’m antsy.
But it’s only mine more days.
What I’m really antsy about, though, is being able to take a proper, fully-submerged bath. I haven’t taken any baths at all because I’m afraid I’ll just submerge everything without even thinking about it—but on the other hand I do find baths really helpful on cold mornings (and, as you may recall, we have already established that my standard for labeling a morning “cold” is fairly pathetic).
Maybe I’ll try taking a bath and mindfully not submerging myself. And, of course, if I get really antsy, I can always use one of those medical-grade wound-protector things that they make for exactly that purpose.
In other news, I’m really tempted to wear this thing:
…to class tomorrow, just to make BW and TS giggle. I think if I do, I’ll be forced to shoot some video for posterity.