When you live in a big city, it’s possible to witness significant cultural shifts happen in real time.
You have a healthy sample size, for one thing. There are a lot of people to observe. And cities — not always, but most of the time — birth Next Big Things or adopt them early. So if you walk down the street in a big city and notice that lots and lots of people are engaging with a particular thing at the same time, or talking about the same thing, that thing is probably going to have a broader impact before very long.
Which brings us to wireless headphones. Specifically, the Apple AirPods. EarPods? iBuds. I realize that my inability to get the name of those damn things right makes me 1,000 years old, and calling them “those damn things” isn’t helping.
You’ve seen those damn things, right? Many of you may own a pair. If you don’t know what I’m talking about, the next time you’re out someplace being 1,000 old* look for people walking around with white plastic sticks in their ears. Since humans are not (yet) made of bright white plastic, people using these newfangled headphones will hard to miss. Look for people who can’t hear you when you ask them a question because they have thin white sticks coming out of both ears that hang down past their earlobe. These people are wearing wireless headphones, i.e., headphones that connect to their phone without a cord that attaches the two. I don’t know how it works, but it does work.
More than a year ago, when Apple first released those damn things, a friend at the school newspaper immediately purchased a pair. He sashayed into the office wearing them and announced that his life had changed forever, that he was a new man with these wireless headphones. He looked strange to the rest of us, those bright white tubes hanging off both sides of his head. I thought he resembled a tagged deer. Nevertheless, he swore by them. We all nodded and went back to work.
Some months later, I saw more of these deer walking around. I don’t begrudge anyone their thing; we should all do our thing. But I must confess to feeling the tiniest bit smug when I’d pass someone wearing the white sticks. “Ha!” I’d think to myself, “You fell for it! Apple puts out a new product and you line up. New iPhone. Apple Watch. Filth! Stand up for yourself! Resist the tyranny of Apple!” I thought the deer were suckers, frankly, and conspicuous ones, too, which is the worst sort of sucker to be. I’m a sucker for lots of stuff, but it doesn’t show up on my ears.
Then everything flipped.
Just like in autumn when you look around one and realize all the leaves changed overnight; just like in spring when all of a sudden everything is green and flowers are having a lot of sex with each other (that’s how come there’s flowers, people, let’s face it), so it was with these wireless headphones. Suddenly, everyone was wearing them. Not everyone everyone, but many. Instead of seeing one tagged deer for every 300 people I’d pass while walking up Michigan Avenue, there were one or two in every 50 people, maybe more. I don’t have to count to see what’s happening: Wireless headphones are now The Thing. They are not a trend; they represent a major shift. You’re either tagged now or you’ll be tagged later. Now when I walk up or down the street, the people who stand out are the sad sacks with headphone cords. The plebes! Sad!
I got a pair of the damn things as a gift. I was most grateful for the gift, but to me, the accessory was just okay. It was cool to put the phone at one end of my apartment while I was on a work call and slowly walk away from it without having to shout. And I very much liked not having to untangle my headphone cord every time I took it out of my purse. As for wearing the wireless headphones in public, I felt very with it. I felt very tech savvy. I felt very au courant.
Well, I hate feeling all of those things. I don’t want to be a tagged deer! Trying to stay on top of the times is a tricky proposition: A gal must allow herself to be carried at least some distance on the winds of change; living under a rock is lonely and dark and then you’re living under a rock, so that’s not going to be very comfortable. But to pay too much attention to whatever culture is demanding of you this week is to be used up real quick by forces you can’t control. That’s not very comfortable, either.
Better to watch and wait a little while and see what sticks — or sticks out. Incidentally, I managed to lose my headphones in an Uber in New Orleans. I am 95 percent sure this was an accident.
So the new apartment is great. Like, great.
It’ll take months to get rid of all the dust. The linoleum in the kitchen is from the Pleistocene era. The paint is an inch thick in every room and is cracking so deep in certain places it looks like Chicago must have experienced a small earthquake at some point in the 1970s. I’ll remedy these things eventually; until then, I love my new home too much to care.
And, um, I live next door to a famous actress.
It’s so exciting! I’ve never lived next to a famous actress before. I couldn’t wait to tell you, but there’s good and bad news.
Bad news first: I can’t tell you the actress’s name. Peeps, I just can’t. It would be extremely uncool to move into this neighborhood and, in my public fan-girling of this epic, brilliant, hilariously funny, iconic actress, effectively share her address with the internet. Believe me, I desperately want to tell you. I wondered if I could just give you obvious hints so you could figure it out yourself, but then you’d guess right and her name would be all over the comments — which gives us the same problem. Any cluster or burst of internet activity about Famous Actress is going to alert Famous Actress’s team. They’ll check it out and see that there was all this chatter about her on some quilter-person’s blog and oh! Guess what, Famous Actress? Your neighbor is a creepy quilter-person and she telling a whole bunch of other creepy quilter-people where you live!
The good news is that this actress is every bit as cool and awesome in real life as you want her to be. That has to be enough for now. Mind you, I haven’t talked to her, but my third-floor bedroom window looks out over the gorgeous courtyard patio at the back of her house and I have obtained data by peering through the trees and catching glimpses of her here and there. The data I have gathered proves her awesomeness and no, peering through the trees to spy on people is not creepy at all. Here are a few of my observations of Famous Actress:
I promise you I will try to meet this woman for real and become her best friend. Once we become best friends, then I can ask her if I can blog about her and she’ll say yes, of course, Mary, you can do anything you please because I love you so much and you’re such a good writer and and please write a movie for me to star in and please come over for breakfast lunch and dinner we’re all gathering in the courtyard patio and don’t you even think about bringing anything you silly girl but oh take this jacket I wore in that movie from the 1980s that you know by heart and also please take all of my old diamonds.
It’s good to be home.
Hey, horse. Nice saddle. I used to sit up there. Oh, this n’ that. I had to go sleep in a barn for awhile. Could I get back on you? Like, in the saddle? Thanks. Yeah, this feels good.
* * *
What makes a piece of writing a work of literature? Have you ever thought about that? (I’m speaking to you, now, not the horse, but she’s still here.)
What makes an essay, or a novel, or a memoir — even a blog post — more than just words on a page? Even if they’re really good words on a page? I’ve been wanting a solid answer to this question for years. When trying to differentiate between a “literary” work or a non-“literary” work, folks sorta cock their heads and offer something vague and impossible to prove, like, “Um … Well, literature is just generally better than other writing? I guess? It’s got something to do with being good.”
That isn’t enough for me. But to be fair, let’s look at a situation where you’ve got writing that’s obviously “better” than other writing to see if it’s a passable definition.
Consider James Baldwin. Consider basically anything he ever wrote. Here you have a writer of staggering talent, a man who spent his entire life toiling endlessly at his desk to make good sentences, a man whose grocery list would surely make us weep for its clarity of conviction. Baldwin once said a writer should write a sentence “as clean as a bone.” James Baldwin’s writing is “better” than 95 percent of all other writing ever produced, ever, so it’s gotta be literature, right? Now, you might not dig his writing, you might be ambivalent. But regardless of whether or not you like James Baldwin, it’s clear from the first sentence of any of his essays or novels or poems that when you read the man’s work, you’re reading literature. Another way to look at it is to lay a copy of Baldwin’s The Fire Next Time between an airport crime novel and a plucky beach read. Now point to the literary work.
Baldwin is obviously the literary writer but why? It’s not length. The beach read could be 500 pages and the Baldwin text just an excerpt; nothing changes. Does a literary work contain fancy words? Is that what makes it literary? Ugh, let’s hope not. As complex as his ideas are, Baldwin’s language isn’t florid or showy — one of the many reasons he’s so great. Is a work literary because it contains Deep Thoughts? Profound Themes? That’s not fair. A good trade paperback by a popular author can deal with topics like death, aging, or heartbreak, too, but that doesn’t make it literature. The criteria for distinguishing between literature and not-literature has always felt as elitist as it is subjective. Other people may have a crystal clear understanding of the difference, but not this nerd.
Then, just when I was not looking for it, the answer appeared. I found it in an article in Harper’s magazine a couple issues back. The article was entitled Like This or Die: The fate of the book review in the age of the algorithm and was written by Christian Lorentzen. Check this out:
“Literary writing is any writing that rewards critical attention. It’s writing that you want to read and to read about. It’s something different from entertainment. It involves aesthetic and political judgments and it’s not easily quantifiable.”
I was sitting in my black chair and had to set down my tea to pump my arms in the air and whoop. That was it! Yes! Literary writing is writing you can go to battle with! Literature gives as good as it gets! It’s not about long words or length; it’s about substance and resilience — and craft is kind of de facto at that point. Literature is a steak. Not-literature is a smoothie and hey: Maybe it’s a very good smoothie. There’s nothing wrong with a smoothie! Smoothies are a nice break from steak. But make no mistake: You can’t make literature in a blender and add wheat germ for texture. If you want to read — or write — literature, you’re gonna have to chew.
What does all this have to do with that horse?
Oh, I don’t know. It’s got something to do with how writing is hard. It’s got something to do with expectations I place on myself, probably. The first five months of this year have forced me to form a new relationship with expectations. It’s strange and not entirely comfortable for its newness. I used to either claw my way up to meet expectations or cry over them when they were dashed. I’m not even sure what they are these days.
PaperGirl is not literature. Never has been, never will be. Believe me, it’s a relief. If I had to figure out how cook and eat a steak sitting atop a horse, I’d fall off and never get back on. I’m good with my smoothie. I’ve even got a cup-holder.
I’m here tonight to share the final stage of the nervous breakdown I experienced early this year. The month-long illness was diagnosed by two medical doctors as a textbook “major depressive episode” and this major depressive episode was the worst thing that has ever happened to me, not the least because it adversely affected other people, too. But, as I can (and should) only speak for myself, I can only share my side of the story. That’s what this is.
This entry is so awfully long but I had to go the distance. We have to reach the bluer skies. I’m ready for those, aren’t you? Yeah.
So tonight, let’s close down the how and the why of the breakdown as best we can on a blog on a Sunday night. It’s as good a place and time as any: Who can totally explain why a black hole opens up in the psyche? How can we say for sure when these mental wounds begin and how long they’ll suppurate before they burst and run and require serious medical attention? It’ll take me a long time to understand all of this, but these installments of the PaperGirl Sunday Evening Post are an attempt. The 300+ pages of diary entries I’ve written in the past four months are attempt. Talking to my shrink is an attempt. Talking to my friends is an attempt.
That’s where I want to start tonight — I want to start with my friends.
In the depression, the days were short and dark. Nights were endless. Hope and vitality trickled out of me by the minute and it was so frightening to feel this and to see it, I was finally scared into asking for help. That’s how hard it is for me to ask for help: I have to be disintegrating before I’ll ask. (Yes, I have learned this is not okay and has to change.) Once I realized I was in fact disintegrating, I texted friends or called friends to come over. I wasn’t going to hurt myself, but I was afraid to be alone. In the deepest valleys of the depression, being alone was the most terrifying thing imaginable because to be alone was to disintegrate for sure; having another human in the room meant I might not go away completely, or as fast. When I asked my friends to come over, even though I was crying over the phone, I tried to make light of things, offering to get pizza and wine or suggesting we go see a movie. Here are a few of the things my friends said to me:
“I’ll be there in an hour.”
“Laura and I are comin’ over, Mar!”
“I love you.”
“Want to join me and Julia at the Field Museum?”
“I’ll head over right after work! I love you! Luke is coming over right now!!”
There was pizza and wine a couple times, but the moment any of these angels arrived in my living room, it was obvious these would not be social calls. The situation was not normal. My friends could see right away this wasn’t hanging out with Mary; this was sitting shiva.
Because no one had ever seen me like this. I had never seen me like this. My friends are otherworldly creatures made of dopeness and love, so when they observed me, they were kind and brilliant in their approach to care for me. These women and men did everything right. They brought me flowers, sewed with me, sent me jokes, talked to me on the phone, watched my favorite movie (Tootsie, duh), brought over — for example — a bag of white cheddar Pirate’s Booty and a six-pack, read to me, stroked my hair as I lay my head on their respective laps. They were brilliant, full of compassion and love for me; they were creative in their tending to me and relentless in their desire to help. But it was very hard to know what to do. Would I know what to do if a close friend literally could not stop crying for weeks? Two of my friends spent the night, sleepover style, during the final, awful week. They were with me when the worst of the panic attacks (I lost count how many), sank its needle teeth into my head and began to eat and pin-pricked every nerve in my body until I shorted out. That afternoon … that afternoon was terrifying for all three of us.
I felt guilty for those panic attacks, for shorting out. I felt guilty I could not entertain my friends, or be there for them. Their lives didn’t stop because mine was falling apart. But at that time there was nothing I could give them. I could only cling to them and beg them to stay just a little longer, which they always did, and without reservation. This neediness added to my sorrow, too, because depression is a sonofabitch. Nothing is safe. It eats everything it can, including good intentions and one’s ability to communicate love.
Remember how I told you there were five things that took me down? I was so busy getting on with the bitter end, I forgot to finish that list. Let’s do that now.
The other two blows to my life were money related.
My business is PaperGirl, LLC. In order to keep my expenses and tax stuff at least a little organized, I have a credit card for PaperGirl, LLC. I have a high credit limit on this card. I pay it off faithfully every month. (I think I’ve missed one payment in four years.) It’s got kind of a high balance right now — but not more than four digits — and it’s this is because I’m waiting on several reimbursement checks. I hate having a big balance on the thing, so I pay it off in big chunks if I can.
This credit card is my only credit card. It has my name on it and my business name on it. Outside of that, I have two debit cards. I have one store credit card. That’s it. Pretty tight, right? Pretty buttoned up?
Fun fact: If you have a credit card for your business, it does not count toward your personal credit score. Did you know that?
I didn’t know that. But I learned it when I applied for a mortgage to get a loan to buy a condo that would let me have my dog. The credit people were like, “Uh … so, you don’t have credit.” And I was like, “Uh … yeah, I do.” When I looked at my credit score, though, my credit card was not factored in. Because it’s a business card, it doesn’t count toward my credit. Even though my name is on the card. Even though my business is me and I am my business.
Without a personal credit card, one that just says “Mary K Fons” on it, not “Mary K Fons PaperGirl LLC, guess who got denied for a mortgage? Upon getting this news, I knew I was trapped for probably an entire year. A whole year more before I could have a puppy, a whole year more in the same space, in the building that broke my heart. It would be a year because I’d have to get a dumb (and “high-risk”??) credit card and “build up good credit for a year” like I’m a freakin’ 20-year-old undergraduate. I felt sick. I felt like a fool. I felt like total and complete idiot. And I wasn’t goin’ nowhere.
Dog. Breakup. Doctor. Money. Mom.
Details about that last thing, that fifth thing, that Mom thing, are absolutely nothing I’ll be going into. All I can tell you is that Mom and I had a fight. We never fight. Ever. We have never, ever had a fight. And then we did. And that was the last thing that happened that sent me down.
For two weeks — whether or not my friends were with me — I could not stop crying. I’m telling you: I was physically unable to stop crying. The tears would recede for a little while but then I’d shake my head and put my hand to my forehead and cry, and cry, and cry. Sometimes I could talk. A lot of times I couldn’t. There were periods during the breakdown when I just stared into space with tears rolling down my cheeks. One of the scariest things is that after a while, none of the circumstances that had brought me so low were front of mind. After awhile, I wasn’t crying about Philip Larkin, or the doctor, or the money. I was crying because … oh, my god. Oh, god, it was all just so sad. All of it.
The bottomless sadness of being alive. The death that waits for each of us. The despair in despair itself wasted me. Joy was something that existed on a distant planet. Sadness made me sad. Being sad about the sadness made me sad. And so I went down, and down, and down, and then, when I did not think I could go down more, I would remember that I was trapped, because of the money thing, and I would go further down. Or I would think of the fight and I would go further down. And I would think, “If Philip was here and I could pet him, I would be okay.”
The sadness monster was eating me alive. I have never felt anything more painful than that.
Next week: How I’m doing now — so good!! — and what medication I’m taking.
Some nights are list nights.
Tonight is a list night, not a narrative night. The list is the list of reasons why this is the case. And so, rather than disappear; rather than put something substandard into the multiverse; rather than not write a list I feel ought to be written, the list.