As I am making these blog notes about me & my family i'm thinking about what family history is. How one thing or another gets set down as story and how other things don't. What is noteworthy ? And what isn't ? A history is not a novel and yet each person's life may read like a novel, may read well as a novel, or not, depending on who is writing/telling it. 

What triggers these thoughts ? I started out on the family history path after seeing my mum in hospital. A mother is a key figure in a person's life, even an absent mother makes a mark by her absence. My mother is very far from absent. She is a person whose body within the wheel likes to be close to the hub. Seeing her now in reduced circumstances, struggling to get up from a chair, sliding her feet forward inch by inch so slow it took her close to an hour to walk 10ft from the loo & she need a wheelchair for the last 5ft is humbling & shocking. She is in some ways still close to the hub but as a vulnerable person whose needs her family are gathering around rather than as someone ordering events.

A family history written when bones are dry doesn't hold the little things. The journeys my sister & I take to see our mum. She in a car bearing the things my mother has asked her to bring, a battery wireless, optrex, lactulose, her herbal sleep pills, the t-shirt with the dove on it. My journeys to see her in Dereham hospital on foot & by the "super 8" bus, the walk to stand A at the bus station, the ride to Dereham market place, the walk up theatre street & cemetery road,  past the church & the cemetery, the school & the water tower to the edge of town where country roads beckon where i turn in to the hospital gates & say my "hello" to the people standing, waiting, to guide others to the Covid vaccination centre, I go to Foxley Ward, sometimes i have to wait if i'm early, & it is peaceful with birdsong, I wash my hands, mask up, sign in and walk the corridors to see mum who is frail & weary, sometimes better than i hope, sometimes worse. In a room on her own & then in a ward with three others. Their faces, their being briefly imprinted on my being along with the image of mum sleeping, looking pale with her mouth open. 

Now she is in a rehab care home in Costessey. No bus now, i just walk, it takes just over an hour, i'm a reasonably good walker & it seems to take less long now i know where i'm going. The care home is ok. The care home is good. The staff are mostly nice & some are lovely. Her room is painted warm soft orange & has a wardrobe, chest of drawers & an en-suite bathroom. The window looks out on a wall empty tarmac but it is a large window so the room is light & the wall doesn't block her view of the sky. She hates her bed which is a hospital bed, rubber for cleanliness. She hated the air bed she had in Dereham too. I think beds may be a suffering for her now. This is bad because her legs & feet are swollen. They look so sore they are hard to see. I massage her feet & legs when i visit, it changes nothing, they are still swollen after i've touched them. And i give her arms & hands contact too. We talk about this and that, sometimes we talk to the carers if they come in for this & that. They have to juggle the needs of all their residents & like mothers of many children can only give what there is time to give. 

 I give these details because this stuff gets lost. I should name names, or speak of the gate that sells plants at the entrance to the road, Grays Fair, that mum's care home is on, or mention the red shoes i picked up from a skip on the way home on my second visit, red shoes ? or ruby slippers ? Hans Anderson's red shoes ? or Wizard of Oz, "there's no place like home", shoes ? Maybe both, as symbols red shoes run deep in today's culture. 

And what of my mum ? Sometimes i visit & i think is this it ? Is my mum dying ? But i think she is not, or rather she is, as we all are, but that she has life yet to live. But, oh my mum, it is hard this life she has now. I never thought my mum would be in a care home. What is this care home thing but being with her & seeing what people who work in care homes do I see the skill in their jobs. My mum doesn't quite trust me to be strong enough to help her up out of her chair. How could i care for her at home if I can't help her move herself ? This is without even putting in the "have i got the patience & strength of spirit & body to hold her in these last weeks, months, years of her life ?" question. I search & I find even those things wanting in me if i am honest. Its a hard truth, for me, & for my mum who i think feels some times like Lear abandoned or maybe that is a projection i've cast on her born from the guilt i carry because of my inadequacies, my not being able to make life good for her. Because bodies wear out, maybe our old make us fearful because we see ourselves in their bodies, our future, the shame that comes with needing help to go to the loo, get washed, get dressed, even eat or drink. I think sometimes that, tho i loved Jon & would wish him still living, his death spared him the indignity of living in an old body. I think he would have hated being old. I think i will not like it either.      

Coming back to my blog after a while spent thinking. The format has changed while i have been pondering which is a little disconcerting. This happens on social media platforms too & i know i am not alone in hauling up sharp with a jolt when the change is effected. These things are meant to stay the same. My creature response is similar to my creature response to the aisles in my local supermarket being changed. I mention this because its really not a big deal but it is something that paused me before i started to write and that moments pause has altered the path of my thought thread. 

If my thoughts are like water running in a stream a stop will hold the water back until the stop is overwhelmed, crashed over or else slid round. Thought is a constant, an ongoing movement. The body of us, us being that which is alive maybe, is a mass of thought, a sea, an ocean, a forest or jungle being a sea of green holding, containing the thought of time now, time passed & the seeds of time that will be. This seems like a big thing to make out of a small change to my blog platform changing but its the butterfly in Kyoto effect what i say next is not what i would have said if my blog platform had not been altered. 

This year has been shocking & we have each adapted to the changes imposed on us by Covid-19 differently. Our bubble lives are now shockingly visible. Bubble lives are not a new thing, a workplace is a bubble, a family, a nation lives within a bubble, we have class/wealth separated bubbles, skill bubbles, the sporty, the arty, the musical, the dreamy, the logical, the mathematically minded, the feelings focused. Passing through life our journey takes us towards those we are most like, have most affinity with & as we connect to those the opportunity to meet minds less like ours diminishes.

What had i hoped to begin my blog with was an update of my thoughts, a posting that lets me look back at the past year and i guess that is how i will continue now. The slight alteration in platform format really being no more than a hop over a puddle really. One of the things i have noticed happens to me now is finding myself lost in memories. I don't recall this happening when i was younger but now i find myself in times & places that are my long ago. I wonder if this is a collecting of that which has formed me, a reconciliation with what i cannot change but may now see with eyes & being that is different to the person that experienced the moment even tho the person was me & is me or part of me. I am like a boro garment holding the past, patched up & threadbare in places, still whole in others, a work in progress. Is this how a soul evolves ? 

Looking back at old photographs is a peculiar game, fresh faced we gaze out of the images, a snapshot of a moment that may or may not tell the truth about that time. I have spent a lot of my life longing for another life, i know that is a bad thing, i look back at my life & wish that i had revelled more in the intimacy of bringing up babies but being a single parent i was often lonely, craving adult company & struggling to get by, i smoked too much hash & was lost in a vapid unsatisfying external wannabe lifestyle. I also learned in that time to be content with the small things, began to know my body through yoga, dance & shiatsu, became softer in essence through meditation & have learned (& am still learning) how to express myself through my creative practice & i hope that i mothered my children adequately if not perfectly. 

I wonder if one of the things i struggled with on my MA was how inconsistent it felt with my truth. It may only have been me that felt like this. I struggled with the pushiness, the get yourself seen, put yourself out there, make connections for connections sake, display for displays sake, it felt gross & quite alien to my practice. That is my experience. It is a relief to no longer be swimming in that sea but also my failure to rise to the challenge has knocked my confidence. I had hoped i think to be seen but ended up feeling unseen maybe because i was unable to engage with the modus operandi we were being taught to follow & hold my integrity as a person & artist. 

If i feel like a misfit maybe it is because i am a misfit. Being a misfit doesn't make me a bad person but perhaps makes a solitary life more likely because not fitting i am not a comfort zone. I am quite a lot not comfortable myself, i don't mean i am physically uncomfortable but i am prone to question & doubt. The comfort of certainty is not often mine.

But of some things i am certain. These things are most commonly feelings. I trust my feelings. Trust is i guess a key player when it comes to certainty. One of the things that help me to trust is my movement practice. This lockdown i have given myself an hour each evening to move. I have given myself an hour each evening to move, i have also made it an appointment, a thing i don't change. I did something similar for some months when Jon died & my grief was so vast i needed a holding space. Then, i marked out a square (about 1metre by 1metre) with masking tape & tho my body could go out of the square in space that which was tied to the ground could not. It gave me a safe boundary in a most peculiar time that allowed me to reconnect with life. Similar to now i also fixed a time boundary. There is much to be said for creating self determined boundaries when large parts of life feel (or are) out of one's control. 

Walking is part of my creative practice but i have been lazy about it this year. This is daft, walking would help me stay sane but i can't seem to motivate myself to get walking. I am not sure what the block is but i am giving myself room to meet it in the hope that meeting it i will overcome it. I have found that forcing through blocks does not work well for me. My encounter with my body in my given hour each day lets me come to myself like a sea meeting shore. There are no wrongs or rights in that hour & giving my body control lets my mind free flow in a way that is similar tho not the same as walking and maybe will see me past my block. Yesterday i hit up against some ancient rage, i suspect that will keep surfacing until whatever pain has caused it has been healed. The day before my mind/body working together gave me this: 

step by step, one step after another, and another, and another. step by step, can be fast, slow, sideways, backwards,

forwards, one step after another. the destination is death. the way, life, is the path chosen.

I guess it is a poem tho i am not a poet so i feel shy calling it that. I guess it is just because of how the words link & because they are in a slightly odd shape it feels like a poem & not just notes jotted down tho in fact it is just that. I guess that is what i wanted to blog about today, the comfort that step following step gives me, the uncomplicated ease that the thought of putting one "foot" in front of another without mind for the step after, or step after the step after. This sequence is i think how we lead life, knowingly or not. Who would have thought this time last year that our lives would be being lived as they are now but step by step this is where we have come to. And the course that our steps take now, into the future, will determine the shape of our lives to come. It may seem like all is lost but each one of us has within us that butterfly in Kyoto & our being, our movement may alter the course of the world history whether that being is as an individual or a collective. We are maybe more in control than we really want to acknowledge.

SNU2. The reason i might have lost the thread is because i am writing up a bit of time in which there was a lot going on and i was mentally and physically exhausted and felt overwhelmed,  vulnerable, strung out and cranky. There were a lot of different tasks and deadlines going on simultaneously. Submissions for proposals for 3 exhibitions each with a different deadline and brief. And the deadline for the Creative Odyssey postcard auction. The UEA/NUA collaborative project presentation deadline. The deadline for making work to be invested for the next bronze pour. The MA symposium taking a day out from workshop time. Applying to help with a printmaking workshop for The Pilgrimage of the Animals event organised by XR and St Peter Mancroft with local print maker Maria Pavledis. Meeting with Maria to discuss the workshop and what she needed me to do as her helper. There was also an artists meeting for the sculpture trail. And through that a further meeting with another artist who gave me a link to a residency which in fact i did not apply for because covid19 made travel plans a little unpredictable. 
And i was feeling hemmed in because when i meltdown i need to retreat but all that was happening was asking me to push out. And i was dealing with Jon grief and unresolved child's grief for my grandpa and wanting to get in touch with my father to ask when my grandpa died but not being able to because my oldest sister was in the country and when she is in the country my family prefer me to stay out of the way and not make contact which added to the grief i was feeling about Jon because when i met him he'd been my home, my happy, my soft space, away from my difficult family. 
There's a book called "Talking of Love on the Edge of a Precipice" which i read some years back that spoke of resilience being born out of feeling loved. I wonder if that is why i hold the love affair i had with Jon so close to me. I felt loved in his arms, and his love gave me the courage to believe in myself, believe i was ok, not rotten, ugly, useless, horrible, but what i wanted to be, someone worthy of love. My anger towards his family stems in part from the way they refused to acknowledge our love affair as anything of worth when it was of huge worth to me, and maybe of worth to him too. 
One of the things that was also bugging me was the issue of some letters of mine that he'd apparently kept which his ex-wife had told me about about two years before. I'd assumed they were a couple of postcards and maybe a birthday card that i'd sent him after our break up when we were close but not lovers. Cards he'd stuck on his fridge maybe. After a session about copyright law in the symposium i was thinking about how i wanted my words to Jon even if they were likely to be disappointingly flat to be in my hands and not the seemingly hostile hands of his ex-wife. A part of me thought "let it go, it doesn't matter" but another voice kept saying "you need those letters". In the end the "you need those letters" won over and i sent an email to nudge the ex-wife into sending them not really daring to hope she still had them, but chancing my arm anyway. Our email exchange was a bloody fight but she sent the letters to me.
What i hadn't expected was a package nearly a kilo in weight containing, it seems, all the letters and cards i sent him when we were together and a couple of notebooks; a holiday diary we'd made together, and one with poems and pictures and things that belonged to us and my thoughts collected together for him at the beginning of our affair. The stuff was so personal it seemed mad that she'd kept it for so long. It was devastating to receive. But also amazing. It made me feel not-crazy for loving him and believing he loved me too because surely he'd not have kept all that stuff and taken it with him if he didn't care. It made me want to swear because damn fool i loved him and would have followed him to the ends of the earth if he'd asked. It made me feel better about making work about him. Not silly but honest. 
This post is an explanation, i guess, of the emotional landscape in which the SNU work was growing. I think that everything the maker-creator is thinking and feeling when they are making-creating becomes part of whatever is made/created so giving this much space to my heart-work feels appropriate if somewhat exposing.  
  

SNU. Images made blank by Blogger. Copyright belongs to me. They are prints from copper plates showing examples of black inks on smooth white somerset satin paper. Images were of Jon, seated on the ground in front of a hedge and a garden in Southwold.  

SNU. Acetates and etched plate ready for printing, note plate is the photograph reversed so that it prints as the photograph. 

SNU. Having got into the studios my first push to work was taking photos i hoped to work with, and putting them into photoshop so i could play with them to greyscale them and accentuate the blacks and whites to make them better for making acetates for putting onto copper plates coated with a photochromic ink and also for putting onto screens for screen printing. 
I had a picture of Jon which i chose because it was the whole of him. Using photographs to make my etching plates allowed me to look with new eyes at my photographs, to view a picture as someone unconnected to the story and to see what drew my attention, held my gaze, was distracting, amusing, frustrating, divine, it gave me information about composition, what makes a picture work, what makes it worth a second look. This was/is valuable information, it is what i call hidden learning. 
I have mentioned in previous blogs how working with pictures of myself made me see my image as an object, this happened too with my Jon pictures. It made me sad and unsure, i wondered if i was being exploitative even though the intention behind working with his picture and my feelings about him was to give him place in my life, a belonging that felt important, was it alright to do that ? And it was strange having his photograph in the studios at university. It may sound weird but giving him presence there was both comforting and uncomfortable simultaneously, it is funny how opposing feelings exist as companions. The need to hold on and let go acting against each other. These contradictory feelings fed into my ASU2 project, the cross that Jesus bore being perhaps a metaphor for the swaying balance which is consciousness calling to us to constantly reweigh, reassess, rejig our values, notions, ideas and systemic patterns so as to keep them alive rather than dead weight, habitual. 
The picture of Jon that i used is one from our last holiday together. We have stopped in our walk and are taking a break, gazing over a view of fields, the sun is shining, a tractor in the distance is stacking bales of straw in a field of golden stubble. You can't see that in the picture. You can't see the rest of the walk either, can't hear the buzzards call, or the feel the fear when the farm dogs attacked us, or the relief of the trees in the woodland behind where we are taking pause. You can't know the conversations we had that holiday or any of the other details because you weren't there. All you see is a man, smiling, looking to the side, he has a roll up in one hand, the other hand holds his wrist, the time is a quarter to noon, he is stripped to his waist which means his tattoos on his upper arms are part visible. You don't know how it feels to be me to see those tattoos that were part of his skin, part of my waking with him for the time we were lovers. You don't know anything apart from what you see and what you project on to the image and so it is with all images. Is the power of an image its ability to draw the viewer, to give the viewer what they want to see, to allow a viewer to project their being on the picture ?
The other picture was chosen because of its weirdness, the statues, the chair, the wall, the house behind and the dogwood stems behind the wall. I chose it because it had meaning for me but also because its oddness conveyed the oddness of that day which being a return to soul place within a time in which i was so deep in grief i was more dead than alive. I may speak more about this in reference to an object made in a blog further along the line. For now perhaps i say that i chose to make this image one of my first plates and that i was planning to also make plates or perhaps screen prints from photographs of the statues but lockdown stopped that from happening. 
Also in this week i was looking at photographs i had taken of seagulls and planning to use them to make screens for screen prints. They were taken when my daughter and I visited the beach at Bray, nr Dublin, my daughter was feeding them chips and i was taking photographs. It was the weekend before my birthday in 2017. I returned to an email telling me that Jon had died. 

ASU2. SNU. I will begin at the beginning! I will begin at the beginning of the beginning of the two modules i need to submit. The two modules are called SNU and ASU2. My ASU2 module is built upon retelling the story of Jesus Christ's journey to the cross, known as the stations of the cross, in my head this also includes the story of his birth, and life, and the people who are part of his life story either because they have a relationship or because they are actors within the story i.e Veronica or Simon.. My SNU module began with a desire to give space in my life to Jon, who i loved, to give the time we spent together record because it was mostly unwitnessed, a between we-two experience, to give it place on the thread that is my life in the hope that acknowledging our time together would let me also acknowledge that his death was not the end of my life. I came to my MA hoping to learn how to tell stories using visual media, most specifically wanting to learn the basics of printmaking, to build rudimentary foundations that would act as a platform for learning after graduating, the year to date has been about picking up these skills from knowing little to nothing. 
In term one in RIPU i looked at objects and their meaning and how objects could hold a story. And in ASU1 i explored the story of Rama and Sita's love affair as described in the Ramayana. I used time in the print studios to begin to meet my materials, exploring papers, mark making on copper (sugar lift, soap ground, photo etching and soft ground), mono printing, inks, colour and layering. I also occupied some space in the 3d workshops working with objects being cast in metal using the burning out method (organic materials that get burned to nothing when the metal is poured into the cast. My aim in my second term was to keep learning about printmaking processes, and to learn how to make moulds of objects to extend my knowledge of casting materials. Also to cast objects in wax to use for metal casting using the same principal as the burning out method described above. I think this is called lost wax casting. I also wanted to find out more about working with the 3d printer in case it should be a tool i might need to use for my master's project. One of the things i had hoped to be able to do was to use this term to learn more about finishing objects cast in metal but unfortunately lockdown prevented that and all the wax objects i have made this term, apart from the origami bowls made at the beginning are unfinished, tho I was able to retrieve most of them from the workshop and saw them off their base cups using a hack saw in the week before the university closed. 
If i am to begin right at the beginning i have to go back to the christmas holidays because that is when the seeds of the stories i was planning to tell were planted. Having handed in, and recovered from the bewildering shock of the Conservatives winning the General Election, in the run up to christmas i began drawing, with a found rainbow pencil and and a brown pencil and an ordinary pencil, scribbles depicting the christmas story and christ on the cross, no more than doodles but allowing my hand to give my thoughts body. At the same time i was looking for a specific image of Jon that i knew i had on a memory stick and found several pictures of him i didn't realise i had, Jon in his garden, and mine, and others. It brought it home to me that i needed to give him physical space in my life. He is/was important to me, the love of life, and yet i had almost no pictures of him except on my computer so i scoured through what I had and picked one to make into a photo etching when term restarted. I also decided to make a companion print from a photo of a strange scene of two statues in a garden in Southwold that i took on my first visit to Southwold after he died. Southwold was one of our places so returning there was an important part of my grief process. 
When the university opened in the new year it wasn't possible to get into our studio spaces as our term1 work was still being marked so i spent time in the library looking for books and films that related to the themes i was exploring and also to printmaking. I discovered the film Hunger by Steve McQueen and watching his interview on the DVD extras about his process led me to leafing through the only book i could find on the library shelves devoted to his work, some of which was interesting, some less so. I also watched Shame which i found less good than Hunger. For me Hunger was a film i needed to watch again, Shame not so much. I also re-watched A Thousand Times Goodnight and Jesus of Montreal. And for the first time Stations of the Cross directed by Dietrich Bruggemann. I became interested in why people become to driven to die for a cause or their faith. I thought about the conflict of interests going on in the middle east especially the conflict between Israel and the Palestinians. About land and territory and how Palestine was given to Israel by people who had no right to give it. I thought about how Israel has bitten chunks out of Palestine for decades now and wondered how i would respond to another party acting in that way towards me and what i considered to be mine. I found a book first published in the 1934 "In the Steps of the Master" by H.V Morton about the state of Palestine before WW2. I also looked at poets: R.S Thomas, Dylan Thomas, Sylvia Plath, Ted Hughes, Sharon Olds and others. 

Bibliography
Anderson, D E. R S Thomas: Poet of the Cross. https://www.pbs.org/wnet/religionandethics/2011/04/20/r-s-thomas-poet-of-the-cross/8661/ (Accessed December 29th 2019)

A Thousand Times Good Night (2014) Directed by Erik Poppe [DVD]. Sweden: Arrow Films
Freidli, I (2012). Steve McQueen Works. Switzerland: Laurenz Foundation.
Hunger () Directed by Steve McQueen [DVD] 

Jesus of Montreal (1989) Directed by Denys Arcand [Film]. Canada: FremantleMedia. 
Lehoczky, E. Cartoonist Lynda Barry: Drawing "Has To Come Out Of Your Body" https://www.npr.org/2019/11/27/782921983/cartoonist-lynda-barry-drawing-has-to-come-out-of-your-body?fbclid=IwAR3tS5-0Z4WwSIwK9zcTVEwXeKelQcFmcv8OtaUoJVQdLLvavf3jniyXD48&t=1577682071685 (Accessed December 29th 2019)
Morton, H.V. (1934) In the Steps of the Master. London: Rich & Cowan Ltd.
Stations of the Cross () Directed by Dietrich Bruggemann [DVD]     

     

It would be a bit daft not to mention covid 19 aka the corona virus in this blog. I am in England and it has begun to take lives and there is fear in the air. We saw China lock down Wuhan and we thought this is a Chinese thing, then it shifted to Singapore and we thought it's an Asian thing. Then it hit Italy and still it felt like something that happened to other people. Oh the innocence. Oh the wilful ignorance. 
A week ago when i was writing my blog i was blithering about this and that, all relevant then, all relevant now, but also very yesterday. To coin a phrase "Yesterday, all my troubles seemed so far away". Britain is discovering who it is in crisis. Each of us is discovering who we are when trouble hits the collective. My university is apparently still opening on Monday. Academics are now teaching online - I imagine this will feel weird - but technicians are required to come in as the workshops will be open. Is this right ? I guess that what we see as all but essential workers pull in is who is essential and who isn't. I went in to uni on Monday, Tuesday, Wednesday and Thursday last week as i had things i wanted to finish or at least saw off their sprues and pouring cups so that i could take them home. I also had a few print things i wanted to do. On Monday I questioned my decision but also had shopping etc to do, by Thursday it began to feel really socially irresponsible to be doing things that were not essential and so from Thursday evening i have seen and spoken face to face with no-one. 
Ordinarily this kind of solitude would be something of a treat. I am reclusive by nature. I need solitude as much as, maybe more than, i need company. But in the current atmosphere its a little scary. Rough voices on the street outside on Friday evening remind me that not everyone has pulled in. Friday was supposed to be the last day of trading for pubs, restaurants and bars. I gather that many were packed. Of course they were. 
Of course they were ? Why ? Because for some the response to the proximity of Death is to want to go out in flames, do or die, i live to live let Death take me if he can. Why is Death male ? Is Death male ? I am shyer of his embrace. In retreat i worry that i have a temperature, is that a tickling cough. Will I die ? Am i strong enough to beat the thing that threatens my, and others, existence. 
It is odd to be so close to a disease that may or may not be biblical but surely is a reminder that many years ago disease took more of us than most of us can remember, measles, scarlet fever, tuberculosis all common enough, my grandfather's parents died of TB leaving him an orphan at 17. Hard to imagine but TB has become a hidden killer in recent times, some strains resistant to antibiotics. Please fact check me on this. 
Death has stalked me all this year, in the form of grief for Jon, yes years gone now, but not forgotten and still loved for better for worse. And also poor Jesus sentenced to death by crucifixion, carrying the bloody cross to the site of his execution. This week i have been dying on my cross, it can surely only get better from there. Stations 13 and 14 are "Jesus is taken down from the cross" and "Jesus is laid in the tomb respectively". The resurrection is optional. I have cut out 14 pieces of copper and covered them in hard ground and i hope to scratch out marks on these over Easter. But whether i do the resurrection will depend i guess on whether the resurrection feels pertinent. 
The Easter story is a potent tale. It is one man, calling out for justice, willing to carry the sins of the world on his shoulders, to die for that world. Make no mistake this is a hero. No wonder the story has lasted. Its a shame he has too often been poorly represented by his priests and worshippers. 
One of the things about stories that last is that they resonate. They resonate with a part of us. My blogs about grief and Jon have had more hits because people relate to the story. Lovers torn apart, death, grief, all these things are invested in our body memory. If we have never loved, we may long for love, if we have loved we may feel another's pain, if we are a wretch we may scorn love and the ring is different but the call to our hearts path is still clear. 
Here i am blogging, let me say its my reflective journal. Because i went in to uni last week i have lots of bronze things to finish at home, they would have been finished amateurly even with Jim's help and guidance in the workshop at home their finish will be even less well executed but they are symbols of my trying. I doubt that it will be clear how much work i have put in in a digital portfolio. That's sad but not the end of the world. This term has been hard it has taken resolve and determination to carry on. There have been falls and i have had to get back up. But what i know is that in my body like invisible ink i carry the work i have done. This i think is all we can ever take out of life that which we have done is ours to bear. 
I think its awful that Jesus had to carry the sins of the world. I think if God was his father and made him do that then he was an awful father. I think that each of us must carry the weight of our being. Not in the manner that Thatcher's selfish-me-first cult decrees but as our belonging, as our knowing that that which we are is the trace that we leave behind when we die and to be mindful of the trace we leave for it makes a difference. 

And then another blog not so much for uni as for me. Long time readers of my blog will remember how broken i was when Jon died. I guess it is relevant to uni because Jon is the seed that i planted at the beginning of my SNU project this term. My need to acknowledge him as a part of my life. To give him place and substance but also to move forward with him in my heart, holding my back but not holding me back. 
A couple of years ago his ex-wife emailed me before my planned trip to see his grave and pay respects to the man i loved/love to say that in the box of possessions his daughter had received after his flat was packed up were some letters of mine that i'd sent him. I couldn't think of any letters i'd sent to him while he was in Gozo, we emailed, it was free and immediate, and so i figured the letters were the half a dozen or thereabouts cards i'd sent him after we reconnected post break up. A get well card sent as we were tentatively reconnecting after his first hospitalisation after collapsing in the street in 2015, birthday and christmas cards, a post card of Southwold, which was one of our places, sent at the beginning of 2016 before or maybe after he was hospitalised again also after collapsing in the street.
I don't know if those cards are in the packet i received but it turns out that the letters were actually seemingly most or all the cards i sent him during our time together. There are many "i love you"s. A few longer notes. A shared diary from our first holiday. A book of not exactly poems and memory things. Stuff i'd figured he'd discarded years before he discarded me. God knows where he kept them while he was in Bungay. We were careful of each other's space and so i guess they were just stashed somewhere i wouldn't look because people need privacy and so closed cupboards were left closed and not pryed into. 
It is amazing to have them. Also heartbreaking. Because i guess his keeping them and taking them with him stands as some testament to our affair. If he had not cared he'd not have kept them would he ? I have felt his care but as i'm here still in the physical world, physical testament has a different quality. Feelings are deep but they are also personal and can be denied by others or in moments of doubt. They make me believe a little more in the love i know i felt. 
It feels weird that his ex-wife kept them for so long. I wonder if i hadn't nudged her this week if she would have ever sent them. I think she regretted not destroying them. I am glad that she didn't. They allow me to feel ok for cherishing his cards and notes and making him part of my this term's SNU project. 
I don't think there is more to say. i have near on a kilo of paperwork now as record of our love affair and i don't know if the smell of them is his or his ex-wifes but they bear his trace and i am thankful for receiving them. 
            

Well there now, the new term has started. I got my grades for last term's modules on Tuesday evening, they feel fair to generous and put me in a mid bracket. The need was only to pass and i was worried that i wasn't good enough to have passed and so a pass feels nice, but then there's disappointment in myself that i do better, no question in me about my grades, they were as good as i deserved, but can i be better ? is this where i rest ? or is there another ounce or so that i can give ?
On Thursday we had tutorials with our main subject teachers and they were helpful and positive. I will continue to explore printmaking and trying to make "pictures" out of stories. In one of my last term's tutorials my teacher questioned me wanting to back off from my own story. I wanted then to see if i could make work that was not related to me, to take more universal themes and give them my mark but it seems that the way i give them my mark is to take them inside of myself and then re-release them as i have found them within me. 
I failed to get to grips with the RIPU project until almost too late. Thankfully just in time i broke in, breaking in has shown me new ways to enquire but i was not quite forward enough to really make the most of this module. It has made me aware that i need to dig deeper, to read other people's thoughts and go further with my own. 
Last term i gave myself a hard task, i set out to explore a story i was only slightly familiar with, from a culture that was not mine, and which i had only indirect experience and no real physical reference points. I think i took on too much. Maybe i needed to take on too much. But it meant that i was unable to go as deeply into the story as i would have liked and that researching the story distracted me from other research and meant that the MA modules barely linked. 
This term i'm exploring for my ASU 2 unit the stations of the cross, christ's journey to his crucifixion. Not a cheery subject but it calls to me so i'm going with it. I begin with an easier in because christianity and the Church of England church are part of my formative years. I have no religion now, i am perhaps polytheistic, interested in religion but not committed to one, i err most towards nature as my source, but a light christianity forms the bedrock of my being. And the bible as a storybook is no worse than any other book of stories as an aid to understanding. 
I am not sure how i will move with the Stations. At the moment i am looking at artists, poets and film makers for inspiration, taking in the journey, the passage, that Jesus took to his death on different levels, considering his life as it is given to us by the saints who wrote the gospels, thinking about those who according to those gospels shared his life and death. Wondering about telling the stations not from his perspective but from those whose lives he touched. I trust my creative process to take me where i need to go. 
That leads me to my SNU project which is coming from my own story, my memories, my being. I was drawn to do this because i found some old photos of Jon on a memory stick over the christmas holidays. It made me realise that i needed to allow myself to bear witness to the life i had with him, in part because there is no one for me to share witness with him, our life together was mostly just him and i. I have buckets of memories but no-one to turn to and say "do you remember ?" and cannot bring him back to life in that way. I cannot bring him back to life physically but this is how we bring our dead back to life when we have need of them. 
When Jon died my counsellor said glibly that my grief would be a complicated grief. She spoke truly. My relationship with Jon was both light and dark and to deny either would diminish the whole. So i have to take in the good with the bad, and the bad with the good, they are front and back, left, right, night, day, up, down, a pairing. Finding balance between the pair creates a tension that i must meet or else lose the truth.  
My feeling is that my SNU project and my ASU 2 project will have meeting places but it will only be by travelling their paths that i will find them. Already i have widened the scope of the SNU to a broader theme that is memory and remembering tho i think this theme will dilate and contract as the pupil of an eye dilates and contracts, to meet circumstance, both past and ongoing. Widening the scope changes the theme but maybe that is actually the need i am meeting. Placing my relationship with Jon within the context of my whole life. Giving him, giving us, our being together, the space, the worth, that he, that we, that i, that he and i together, that i think we merit. His family have been absolute in their condescension, i am sure i am written out or cast as worthless or worse within their narrative. I guess that hurts. No, i don't guess, i know. It hurts. Maybe this project is also part of healing that hurt.  
I linger too long on a delicate subject. Of course being blanked, excluded or cut is painful. It may be that it is in felt experience that my SNU and ASU meet. Feelings run clean through time. Feelings may be the path that connects one story to another. 

Oh hello blog, i may have neglected you as a way to get words out of me, as a way to understand how  the world feels to me. There are lots of ways to communicate and the how and the with who makes a difference. My notebooks are private, my blog obviously isn't. Emails may or may not be. Conversations are as private as the participants allow.
Before Jon died in 2017 we wrote emails to each other for about two years, back and forth conversations most days, often inconsequential chit chat, sometimes deeper stuff. When he died i missed his voice on the other end, the response, the return. I carried on writing emails for months, occasionally still i will email tho' i know he won't answer. But emailing dead-Jon feels unprivate, it's not me talking to him, it's me talking to an empty space, or a space that is Jon in my head, and i don't know if other people occupy that empty space, if i send him an email does it get seen by people who are not him the never-will-receive intended receiver. I guess we can never know these things. 
Privacy is something held within. People are more or less private it's a personal choice. As soon as a word is uttered or written to another it ceases to be private. Though there are people who hold our words private, counsellors, therapists and if we are lucky a few close friends we can trust with our secrets. 
Women who have been pregnant will know the super-secret wonder of a child forming in our wombs in the weeks before we tell anyone just in case the baby doesn't stick. I am lucky i have not had a child i needed to lose, or lost a child before it could live, how it feels to live with those feelings i will never know. There are feelings that are hard to express, that cannot be given voice, or which are terribly hard to voice. Those feelings become secrets.
Secrets can be good, can be great, but not always, some secrets are terrible. Holding feelings in can feel like safety but always holding is difficult and bad feelings held in and not allowed expression can become dreadful, unbearable. 
We are living in a strange political climate at the moment and some of the big frontsmen appear to be terribly damaged to the point of psychosis. When deep emotional wounds are left to fester within they may find outlet in cruel language and acts.  Or else terrible unfathomable depression. I know from my own bad self that mostly it is driven by things that cause me pain, feeling worthless, feeling rejected, feeling wrong. 
What is a bad self ? Why would i think part of myself is bad ? Is my bad self worse for being witnessed or worse for being shoved away, forced into submission and given no release, no breath, no light. When Jon died i was insane with grief, books and blogs say it's not insanity but it felt like insanity, insanity caused by grief but definitely not straight, not common place everyday normal. I think tho that maybe being insane with grief when someone you love deeply dies is an appropriate response so maybe that's why the books and blogs etc say it isn't insane. They also, all of them, state clearly that burying grief will not help, that each of us must live it as we need. 
I felt at the time that Jon's family would have liked me to grieve less, not for my sake, but theirs. Go away, be neat and tidy and out of the way, they brushed me away like rubbish and still that hurts and i don't know quite what to do with that hurt as over the past year and a half i have slowly recovered my sensibilities and begun to occupy my now and point my gaze to what next instead of what was or what could, or might, have been. 
Because what was still occupies space in me, and what is connects to what was, and what will be meets the was in the is. My lived experience with Jon was intense and marked me so of course it is still part of my now but i know that it is also done, that he is dead and who he was with me lives only in me. That won't be how it is for everyone grieving i think because often grief is shared with others who loved and cared for the deceased. But still each relationship is unique and i guess that's why mourning is such a lonely journey. 
For me it has been a kind of mapping process. A connecting of memories, places, moments, books, music .... and feelings. Feelings i think are the most personal of all our memories, I might see a mimosa tree for instance and it will take me back to the place we stayed in Italy where there were several flowering but as I fly back to that time i am at once again in the feeling of that holiday. I am in my now seeing a mimosa tree, but i am also in my past with Jon, on the platform of the deserted station, finding a boar's skull, looking over a bridge at the rubbish clogging the river, seeing Naples far in the distance from our bedroom window, exploring the roads and pathways around the village we were staying close by to, and so on. I am also in the future knowing that what is done is done and cannot be undone, that flights of fancy, what ifs, are strolls within my imagination and will never be reality but that my path keeps going. 
In that moment when i see a mimosa tree (other memory joggers are available) time meets time. And time meeting time is a place. A place in me. A cave within a labyrinth of caves. 
Ever since i was a child i've been a walker. There are lots of types of walker and i think maybe the way a person walks maybe matches their thought process. I'm a wanderer, maybe a roamer, i'm not a hiker, i'm mostly a solitary walker, there isn't a right way or wrong way to walk but different types of walker need different types of journey fellows if they choose to walk in company. 
When i was a child i used to roam the paths and roads and lanes around our home. We lived next to some water meadows and close by was a clay-pit where fishermen would sit in the gloomy shadows surrounded by midges in summer, once a pike stared up out of the water, it's head the head of a monster, still remembered, another memory that sits within my labyrinth of caves along with the gorgeous gloopy threads of toadspawn and the light on the water and the mud gap in the hedge that was how to get to the pool.  
I loved walking with Jon. Right from the beginning of our relationship it was something we shared. He took me to the paths at the back of his housing estate and the housing estate where his mother lived. We wandered together from word go. In many ways our wanderings were like the wanderings of two children. Two children roaming free in a beautiful garden world, our own garden of Eden.  Innocent and carefree we stopped to look at bugs and flowers, to listen to birds, got lost together and found our way out of being lost together. We learned to read maps together. I learned how to draw a map inside my body by treading paths, linking places together until i could draw them in my head. This is a practise i continued to do after Jon and I broke up and which i have found is a sanctuary process since he died. 
I apologise for going on about Jon, he was someone i loved, he wasn't perfect, and i could have grieved less if i had loved him less, as maybe i should have done, i would have grieved less but love is what it is, it's a feeling given free-ly not a creative accountancy game where you hope to get more than you give, tho i think maybe well balanced books make for easier relationships. 
When i was doing the sculpture trail in 2017 (blogs about this are from around about this time of the year in 2017) the area around the trail was unfamiliar. My friend David and I had a little explore and some of the places around the trail we'd visited before because he had family roots in that area and so we'd looked at Heckingham church and Hales church and walked around Loddon a little. My commute to the trail is longish but lovely. I catch a bus from Norwich to the road that leads up to and past Hales Church and i walk from there to the site, the walk takes about 40 minutes, i often see deer and hare and buzzards, some of it is grassy paths some of it is quiet roads, in good weather it's gorgeous. In 2017 i was my sculpture so my day was that, it was an odd enlightening experience, a chance to know how it felt to be seen being. It's all in previous blogs so i won't go on except to say that every time i walked to the trail i passed a crossroads. I came from one direction and took the turn to the right but the roads straight on and left called to me. Always i planned to go back to explore them and it is this that i've done as part of my research for this years trail piece.
Over the course of the past year i've been exploring the roads and ways around the trail site, building a new network of experienced wandering around my historical self. The first walk i took 4 deer crossed the road once, twice, three times, four times, i felt my knees buckle and my self crumble it was a moment i would have shared with Jon and weirdly at the moment i broke i felt his arms around me and his voice saying "it's alright, i'm here, i'm here"  i don't care if that seems mad it was my experience and it's mapped on that road and so i know that even tho he is gone forever as a body the feeling of him is always there if and as and when he is needed/wanted and maybe sometimes when he isn't wanted. 
My piece for the sculpture trail is giving me head issues at the moment because it isn't pretty. And it isn't clever. And maybe anyone could do what i am doing. In fact, yes, anyone could do what I'm doing.  I asked for a cave space within the shrubs at the end of the garden and have been gifted a beautiful space. I am wrapping the network of branches around the space, the space that is the cave, the inside of the cave. I want the branches to feel like the walls of a cave. I want them to feel like chalk lines marking out the paths that lead to the cave. 
Just after Jon and I split up in 2013 after my degree had finished and he had left for Gozo i went on a strange walking holiday in the Dordogne with a group of people i didn't know well. I'd been told about the trip by a woman whose work i'd admired in the degree show, i'd got in touch with her, we'd met for a cup of tea, we talked about walking, she told me about the trip, i got in touch with the man who was leading the trip, someone had bailed so there was one space in the minibus which i decided to take. It was a trip to walk and look at Lascaux amongst other caves with paintings and carvings and I'd wanted to see Lascaux for some years so it was sensible to go and i needed to pick myself up and get on with life after the shock of being dumped just when i thought Jon and I would be adventuring together. 
The trip to the caves was a beginning and ending, beginnings and endings belong together, sometimes they overlap and sometimes their meeting is marked by a sliver of thin air. Jon and I emailed semi-courteously for a while pretending to be civilised until my yoga teacher lent me the "Fuck It" book  and i decided that whilst he was quite within his rights to leave me neither he or his horrible family could tell me what to feel and if i still loved him, goddamn it (or fuck it) i was going to let myself love him. I knew i was supposed to behave, to accept rejection politely, to let him go without making a fuss but i decided to let my wild grow instead because it felt honest, because it felt good and i grew out my box, was unruly and thorny, gained mass and flowered and i'm glad i did. 
Oh, i must have needed to get that out.
I am talking about caves. I am talking about visiting caves and caves inside of me and the inside of the tree cave that i've been given to draw the map of the territory i've been walking this past year, this past two years, ten years, life. Inside my cave are my memories, my memories of Jon and the part of our lives we spent together, also my memories of other people, places, times, moments. Because inside of each of us i think is a cave, at least one cave, in which time and space and passage of time and presence all meet together in a place that is called Still. 

What do you do when someone you love dies ? Not someone you are fond of or someone you have an affection for, but someone you love, someone whose being resides in your heart ? When Jon died I asked my daughter this because I knew that she knew, she replied "you live, you live mum" ...
My experience of grief is only one experience of grief. My grief for Jon who I loved. It is different to the grief that other women who loved him will be experiencing because their grief is their relationship, the man he was with them, the woman they were with him, the chemistry between them that made them them. 
The interaction between two is always very slightly different, even day to day between the same two, one and an other is another recipe. Even if one of the two is a thing like a place or an icon. The individual within the story is the difference. 
Yesterday I watched a film about a little boy who died of Meningitis. A dad talking about his young son dying. A film of him playing with his little brother, performing and playing. It is an agonising watch. I have not experienced the death of a child. The pain is unimaginable. It stops me in my tracks, there is no breath. I see those who are having to carry their loss from a point of innocence, not knowing, of sympathetic pain, of understanding that is limited by my lack of experience, please god may that always be my good fortune. 
Experience is the teacher. I have my experience and you have yours. I know what I know and you know what you know. If we allow ourselves to meet with open hearts we may find that we have common ground and through that common ground we may be able to share our experiences and learn from each other how it is to be another. 
This is what has happened to me since Jon died. I was felled by his death, my blog is testament to that. And i have a stack of notebooks, and sketch notes in 2d &3d, and close friends who have held my space and listened when i have felt shot down, who have re-lit my light when i have been in darkness. 
My grief is not comparable to the grief some one feels when their child, their baby, dies. It stems from a different relationship, so how could it be ? But I think grief has meeting places, the loneliness seems to be common ground, sadness is too mild a word to describe grief, but it is in the mix a kind of whole sadness maybe, I can't explain this feeling it has no words in me, it is akin to love but love in darkness maybe rather than light, those who know what I mean maybe will let me know. 
I have felt since Jon died that I am occupying a completely different world. And this too seems to be a shared connection. The world itself has not changed, it carries on regardless as if nothing has happened, day breaks and night falls, relentlessly marking the time between the last point of contact and the end. Does no-one know that this great person once lived and now doesn't ? But it is only the few who love a body whose world has changed, the rest of the world carries on oblivious to the pain that those who are grieving are coping with day in day out. And all the videos and blogs and memes and poems seem to say this that grief is not a finite thing it is there and sometimes it is less pressing and sometimes more. 
Last week I decided to open the email that Jon sent me just after Easter in 2017. We had had an argument. His emails had become less frequent and more offhand and I knew he had started drinking again if he had ever really given up, he said he was drinking daily as a habit because I had asked him what he did with his days and he had told me that he'd have a couple of drinks mid morning before returning home in the afternoon. At Easter I asked if he was seeing someone, and if so i said i should back off, because I was not sure if the days when his emails didn't come were days when he was with someone or days when he was blacking out, and if he was blacking out that wasn't a good thing. He replied rudely, I replied rudely, we exchanged a vicious spat of words. I did not like the way he talked about the woman he was seeing. I decided on Easter Sunday that year that I had to let go so that the woman he was with had a chance to bring out the best in him without the jealousy of an abandoned ex creating more difficulties. The email i opened last week did not suggest he was giving her his best but it may be that he was being a better man with her than the person he was in the email, i hope so. 
When I opened my folder of Jon emails and scrolled back to Easter '17 I found a time-bomb. An unopened email he had sent in August '17 that I had erased from my memory. I believe i blogged (about a year ago i think) about how at this time I had repeatedly woken to loud banging on my door in the small hours of the night that my first thought on waking, or maybe still in dream, would be "it's Jon" but then i'd know it was not real, that he was not knocking on my door, that it was only a dream, that it was not Jon. But this unopened email spoke of his missing me, of how he woke thinking of me, wondering if I was married to, or "besmitten" with, someone else, asking me to email. I didn't see it. I don't know how it got in my Jon folder. I don't know how I would have responded if I had seen it then. I felt betrayed. I was furious and heartbroken. Furious and heartbroken is a very odd combination of feelings. It hurts now, knowing that he like me was wishing we were still in contact at that time.
One of the things about emails and letters and texts is that we don't know if the other person has received them. When I accidentally sent an email to Jon in September giving us our last conversation, and me now two still unopened mails, he will have assumed that i had read his August email. I hadn't. Would it have changed the way we communicated then i think so, tho' how i do not know. Embodied contact allows us a greater depth of feeling because we are witness to movement and shape, smell, sound, space, timing, and so much more, all the subtle signals that our animal bodies recognise without even knowing, the light in someone's eyes, the curve of someone's smile, the inclination of bodies, the touch and how the touch is received. I felt, and still feel, sure that if Jon and I could have met for a coffee we would have met as old friends who loved each other still.
A certain generation (type) of people may remember a computer game called The Sims. The Sims was a model for life, a way of telling people-stories, soap opera lives were lived out on a screen under the hands and in the mind of the game player. Births, deaths, marriages, work, love, money, learning, friendships were all there guided by a god-like handler. The first version of the game was quite manageable especially after you got the cheat that gave you unlimited finances. Unlimited finances make a difference to wellbeing it seems, funny that. As the game evolved with add ons and new versions and real time relationships it became more tricky. Want to get in touch with that friend, in the first game people didn't age with you but later they did, their friendship didn't just diminish if you accidentally dropped contact because you were busy building your house, or making out with your new lover, they aged with you, some of them died. I'm aware that The Sims is something my sons and I would recognise as a formative experience but it's not a catch all. My point is really that relationships need nurture and the easiest way to nurture a relationship is to give it time and space and love and light just like anything you want to grow to flower. A plant may flower without attention but like The Little Prince's rose that flower becomes your flower when you give it your attention. 
I wanted to blog today because this past week has been a funny one for me. Opening Jon's Easter 2017 email on the two year anniversary was a challenge i had met in my mind before I did it. Discovering the one I did not know about was a shock. It was kind of loving, so kind of nice, but it made me cry a lot. Last year at Easter his daughter's mother wrote to me saying they had letters I'd written to him and would I like her to send them to me (I said yes but I have yet to receive them). That made me cry too.
Sometimes when a feeling is difficult it is best to meet it, chances are it won't go away on it's own and will keep nagging and nudging until it is met so I decided I needed to go back to Bungay and to tread some of the soul paths Jon and I wore together in the years we were lovers. 
My relationship to Bungay did not begin with Jon. I was friends with a girl from school and I remember staying with her for a weekend and bicycling around the town. And later, when I was very nearly full term with my first baby, her father and I stayed the night with a friend of his in the old pit where he lived in a caravan with a goat and his dog and some chickens. Because I was only 20 and her father just 21 the friend seemed fantastically old, I suspect he was probably mid thirties or fortyish, but people in their thirties and forties look old to the young i think tho' they may not feel it. The caravan smelt of pee and I was very keen not to have my baby there so when the bus failed to turn up we walked and hitched back to Norwich. I think we walked about 9 of the miles and I suspect that my daughter's determined nature was in part forged by that experience. 
Since Jon and I parted company I re-met Bungay through the sculpture trail at close-by Earsham where/when I met my friend Andy who lives there. But Jon is a big part of my relationship to the place. So if I need to feel really close to him it's where I go. I think this is my third trip since he died and each trip has been for a specific reason, a need to connect with that which was best in us, to the time and place where we were most solid, where i feel/felt closest to him. Time passes, I cannot undo Jon's death. All I can do for peace of mind is endeavour to accept and understand what is. That's not easy. And as I said at the beginning of this blog, my grief isn't comparable to anyone else's because it is mine and something only I know. Someone who has lost a child or a sibling or a parent or a husband/wife may wonder why I am bleating on about Jon but their wonder is not really my business because grief just is, no-one in their right mind would ask for grief if they know how grief feels because it's like a stain that can not be over-painted, the pain of the loss is forever, i think. I'm sorry if that is un-comforting. But I am wondering if the pain i feel for Jon, because of his absence, is how he maintains presence in my life and reminds me of the pleasure we shared. 

I promised myself that I would write a blog in which I spilled a little less of my blood onto the "page" but I don't really know how to do that. I think I write in blood because I don't have any ink. Call ink style and blood passion. My blogs tend to come out of me when my heart is bursting with need to express myself, when my mind is on fire with thought and I can't hold it all in. 
But what I want to get started on is blogging a quiet pilgrimage I am taking. Using the word pilgrimage I hope gives a sense of the form of the journey I have embarked upon. I do not know if I will reach my destination but I have started the path and that is enough. 
Lots of people walk the coast of Britain. I've been following a few blogs over the past few years and most recently a man on twitter who is doing it the adventurer's way with a tent. But I am not an adventurer. I have however wanted to walk the coast of Britain for years now, maybe as long as twenty, thinking about it and not knowing how to start, where to start, making it all more complicated than it needed to be. 
Because in October last year I just began. I walked from Southwold to Lowestoft. Just because I could. I started in October because October was the anniversary of Jon's death. He gets the whole month because his actual death date is different from the day I found out by nearly two weeks so in my body he has two deaths, his actual death and the death of him that happened later when I picked up his sister-in-law's email informing me of his death  
Southwold was the beach Jon took me to on our first proper date. And we walked the length between Dunwich and Kessingland over and over again in different parts during the six years we were lovers. Starting at Southwold meant that my coast walk began with Jon as my journeyman, a ghost journeyman. I suppose that I hope that walking and walking will help me to lay his ghost to rest. He is not, for me, an easy ghost to lay to rest. I meet him everywhere. And sometimes I like that and sometimes I don't. 
I took the first step of this pilgrimage on a date that was before the actual anniversary of Jon's death but was the anniversary of a friend and I going to Southwold the week before he died. It was a strange day. I was tearful and thought I saw him on the bus and we found ourselves in places that he had taken me to on our first and last dates, places that connected me to him where memories had been made, and places he'd shown me that belonged to his childhood. I couldn't get him out of my head. I wanted to be there alone, or with him. My friend kept saying I had to give up on him. I had. I couldn't have given up more. But it hurt. I guess my head had given up, but my heart hadn't. Hope still defying reason.
I digress. I took the first step on my pilgrim path because all the time we have choices. October 2018 was the anniversary of Jon's death and I needed to force myself back to life, to seize the day, carpe diem. I took two walks in October and have taken four since then. Southwold-Lowestoft, Lowestoft to Gorleston, Great Yarmouth to Caister-on-sea, Caister-on-sea to Winterton, Winterton to Happisburgh, Happisburgh to Mundesley. 
Mostly I go by public transport and mostly I go alone. So far the exception has been Winterton to Happisburgh when my son, at my ask, helped me out by driving me to Winterton and then parking up at Happisburgh and walking back to meet me at Sea Palling. Mostly I like going by public transport and walking alone. Walking alone gives me time to think and public transport especially buses allows meetings to happen that wouldn't normally. 
This walk, this long walk, began with a trick. I was just walking from Southwold to Lowestoft, no big deal. The second walk was more conscious, on my birthday, the anniversary of the day after I found out he was dead. Lowestoft to Gorleston. One walk and then another and another, beginning. I needed to begin and then I needed to keep going and then when Amis joined me I needed to ask for help because I could feel myself stalling, and I wanted to share what I was doing with someone I loved, someone living, a tangible, physical presence. Ghosts and spirits are all very well but not the same as flesh and blood, body and living soul. Amis' help briefly made my path warmer and sweeter, less lonely. Time and space are gifts. I was glad that Amis accepted the gift of my time and space and gifted me his in return. Time and space are gifts worth treasuring. 
Following my day with Amis I walked Happisburgh to Mundesley, passing the shameful nets at Bacton a week or so before the sand martins return, the cliffs looked mean and grim and bleak. I am so thankful to the people who got those nets removed. They stand as heroes in my eyes, everyday people who rose to a challenge and beat a system that says birds lives are worth less than money and man. I wonder if that is the mark of civilised society, the ability to understand that that which is not us, is not "I", is as of much value as us, we, ourselves, "I". 
Food for thought maybe for my next stretch Mundesley to Cromer. My walks are not too long at the moment and it might seem like I'm dawdling, taking this walk at such a leisurely pace and with no certainty of reaching it's end but it's a choice I have made to allow myself to be slow, to let myself go gently. Going gently, taking things softly, means I will do what I set out to do, I don't respond well to a whip but I give all that I have if my heart is resolved. I want this journey to be a healing path. I am walking it widdershins, tempting the devil I suppose but my hope is that the pull of my road will give me time to work out where I am going and will find me moving forward even if my forward is met by sometimes going back in time. 

Part Two ... because there is more, there is always more. I'm going to write about memories, again, history, personal and social, the who and how it is told. I imagine that Jon will slip into the story because although some people might say "oh shut up, get over yourself, he left you, he died, no one cares" their opinion has to be nothing to me because though he was surely and often a git i loved him and loving him changed me. I cannot deny the changes that happened to me and in me as a result of our knowing each other and so he stands as a markable, remarkable presence. 
So where to start. That so wasn't necessary, but i don't know how to write so there it is and there it is again. Where to start. I am currently reading Wolf Hall by Hilary Mantel. I have just read The Sense of an Ending by Julian Barnes, and Private Peaceful by Michael Morpurgo. Each one of these books are a historical account of a story. Wolf Hall tells a story that has been covered by many, a story that perhaps most English people over the age of seven have an inkling about, and a viewpoint or opinion even now, nearly five hundred years on. Private Peaceful is one of those books that makes you weep for all the men and women killed for living in an unjust time.  Michael Morpurgo, the author, addresses the injustice of 290 British and Commonwealth soldiers killed for desertion in the first world war with his usual grace and gift for engaging with heart, his own i think and his readers. Private Peaceful is a story told by one man, about his life and his brother's life and all that touched them. It's a story about a single death but also the life that led to that death. And living after death i suppose too. It's about how lives link and connect. Because we are linked. We are linked even if we don't want to be, sometimes the links we don't want are the hardest to break. The Sense of an Ending addresses human connection on a very personal historical level. It's a quick read but every word is meat. The story could be anybody's story. If we get to be old the likelihood is that somewhere along the lines we will have done something that perhaps at the time seemed like little but later turns out to have been a wrong. I have wrongs sewn into my seams. I imagine most of my friends and loved ones do too. 
What is it that i'm trying to say by mentioning my recent reading matter. I'm mentioning my recent reading matter because Wolf Hall in particular is making me think about how and who tells a story, or history. And because Britain is my country, and we are in a spot of trouble at the moment, and having a historical moment, and it's causing strife and disorder in the highest court of the land, i guess parliament is the highest court unless you count the Queen. Wolf Hall is also about Britain at a time of upheaval, and to me the story resonates with the history being made today. Maybe it is always like that to a greater or lesser extent. 
Wolf Hall, the book, is also set in my history, my history with Jon. How can something like a book be part of relationship story, i guess in much the same way as anything else if connection was made over a book then the book stands as a open door leading back to that connection. 
Wolf Hall won the Booker Prize in 2009 Hilary Mantel, the author, seemed to come from nowhere though in fact she had been a working author for years just not very well known except among her peers. I remember Jon reading it and talking to me about it, sat on the sofa in his living room, my reading it now flashes back to the time, i wish that i'd read it with him but books come when they are meant to and back then i was battling demons on all sides, work, college, my family and his, and all my energy was engaged in not giving in to feeling worthless and worth less than worthless. I am reading it now and thinking about him and that's nice but also quite sad. He's here reading it with me, as is my son, who read it last year, and who is thankfully still living and with whom i can talk to about it. Not talk to a past him but a present him, a now him. 
That's one of the big "fuck-off"s with death, i think. Not being able to hold another conversation except in your head, never to see the other person, to laugh with them, or touch them is really painful. I remember Jon talking to me about his mother after she died. He said that after she died she was easier to get on with because he didn't have to deal with her bad bits and could just relate to the best of her. I didn't know her. I gathered quite early that she and his sister-in-law had been at odds. And that her family rep (Jon, his brother and his brother's wife) was as someone difficult and unpleasant. But that at her funeral someone else had said to him how kind she was. I did not know her so my judgement of her is of no worth, she may or may not have been as described, she may have had reasons to be as she was described. Because people often do and may not know or want to acknowledge why they are as they are. 
Reading Wolf Hall has been mind-opening. Who can fail to be intrigued by that period off history ? It has legend written all over it and creative types have played with the storylines and characters over and over again. It is to me to read about Thomas More who wrote Utopia, to know him as a not-nice character, a torturer, a religious zealot, a mean husband, the image i'd had of him was as a gentle family man, someone almost saintly, this had, in the main, come from a 1970's film i have seen more than once. How easy it is to fall in with a narrative if it is the only source drawn from. 
This has been some of the problem with Brexit. Maybe any conflict where sides have arisen. I guess all the time there's a need to look more than one way if wanting a rounded understanding is wanted.  If wanting a rounded understanding is needed. If I see only my own point of view as valid then all i can do is dance on the spot and hope that enough people will dance on a spot close to me so that i feel myself not too isolated. Alternatively if i am prepared to see, to feel, to engage with other people's thoughts, needs, feelings then i have opportunity to step out of my spot and make my dance a more moving thing. My opening out to others creates space for interaction that holding myself tight shut like a shellfish on a rock will never do.
Because i don't think any one person can always be right. Most of us will have come up against someone who believes themselves always right. But, really ? Really ? I don't know how to deal with people who are never wrong. I suppose that the drip dripping of time will wear them down in the end but whew in the meantimes saint's preserve me from having to spend too much time with those who are are without fault. 
Er hum, where am i going ? History. Memories. Well a lot of my blogging has been about memories this past year and i have a project idea building at the back of my brain about memory, same as a million other artists, authors, play-writes, poets, film makers and all the others with a calling to the arts. But memories are a very personal form of history. And yet even as we write and read back to ourselves our own histories, they trip and fall and become imperfect. When i wrote a few weeks  ago about the church at Wenhaston and the devil weighing the souls, that was my memory, but returning a week after i saw that my memory had missed St Michael, and that he was the one doing the weighing and the devil very close by was just looking on waiting for the wicked to be weighed and passed on to him. And before that i spoke about my hair being green when i was pregnant and straight after i remembered that it was probably pink and blue and bleached a good white blonde and the green had been cut off just before i got pregnant.
Recognising the holes in my own memory make losing Jon feel harder because i know that the time we spent together is passing into kodachrome dream-like images, images that replay and feel real but also not real. I don't know how better to describe the feeling. It's hard to accept someone i love being so physically cinematic, so physically distant, but that is how it is for me now. It hurts, i don't want a sugar coated Jon, i want him good and bad, as i always wanted him. So, and there's that "so" again,   i find him in books, and fields, and hedgerows, and, and, and: and what i find is feeling, the feeling of him, it's not him, but it's him as i knew him, sometimes brilliant and sometimes a bastard. And the bastard is not such good company but i did learn a lot from the bastard in him just as learned a lot from his brilliance. 
Do I close there ? I struggle with endings. Some people are good at them, are masters, but i don't know how to close, for me there is always an after. Perhaps it is that sense of one thing leading to another and another and tho' threads drop and fall away new threads pick up the stream and go forward. Now I am walking the coast path very very slowly and maybe I'll blog about that next and put in a picture or two to lighten my blog. But it's life isn't it, it keeps going.
In a few weeks time Britain will or won't be a part of the EU but life will go on and the body of our country will have moved little. What the politicians are fighting over is a lot about money, i think, and power. Some care about the human cost and some don't. And i'll give my vote to those who do. And some care about planetary cost and some don't, and similarly i'll give my vote, my coat, to those who do. And that in the end is all the little man/woman/child can do is give their coat of arms to the causes they feel most strongly for, whether in their personal or political life. And there perhaps i'll end because it's as good a place as any.