Tuesday 9 April 2024

 ONE HOUR

I publish fiction, memoir and the occasional rant on ABCtales.com  https://www.abctales.com/user/gletherby Recently in response to one of the weekly Inspiration Points -  'one hour' - I wrote: 



The Gift 

What would you do if gifted an hour?

Watch two episodes of your favourite soap or the first part of that Netflix series that everyone is talking about?  

Talk and laugh and talk some more with your mum on the phone?

Share coffee and a slice of cake (two forks) with the friend you’ve been meaning to catch up with for ages but … ?

Read some more of the novel that’s been keeping you up way past your bedtime for the last three nights?

Relax in a bubble bath, topping up the hot water by twisting the hot tap with the big toe on your right foot?

Cook your favourite meal... go for a swim... plant the shrubs you bought at the garden centre last weekend... sit and chill with the cat on your knee... go to the gym…?

What would you do if gifted an hour?

Why wait.

Give yourself a gift.

***

Sharing my contribution to Facebook I asked friends:  'What would you do?' Mary Garland responded with these lovely words: 

Today I was gifted an hour
by the absence of the usual traffic en route to work.
Taking up Gayle's invitation,
I'll use the hour to write, no, crochet, no, read, no, think.
It's such a precious gift, this hour,
so many ways it could be spent that I'm scared of losing
this one hour in indecision
for the clock ticks as I write this, think, look out the window.
There's a black cat in the buddleia,
three magpies in the adjacent tree as I write, watch and
wonder this precious hour away.
And I realise I'm happy, using this hour this way.



Tuesday 2 April 2024

Gareth's Body 

I wrote this short story following a discussion at a session I attended at the Centre for Death and Society (CDAS, University of Bath) Annual Conference in 2023. We talked, amongst other things, about the hierarchy of (dead) bodies which made me think further about the status of the dead and the impact that this might have on those who are grieving them.                         

                                                Gareth’s Body

The conversation with the registrar’s assistant leaves Emily shivering, despite the warmth of the day. Throughout the call the insensitive jobsworth on the other end of the call had constantly referred to Emily’s witty, untidy, kind, gorgeous, generous (too generous at times in Emily’s opinion), clever, verbose (at times embarrassingly so) Gareth as ‘the deceased’.

‘When did the deceased die?’

‘What is the name of the deceased?’

‘What is your relationship to the deceased?’

The denial of 72 years of life with one brutal, final, word.

Gareth is no longer a husband, a lover, father and grandfather, a brother, a friend, an engineer, a football and musicals fan, a collector of old Beano comics. All this, all of his identity, erased by the word ‘deceased’. Or so it feels to Emily. She smiles briefly, remembering ‘the parrot is definitely deceased line’ from Monty Python’s famous sketch; a favourite of theirs. This thought takes her to other entertainments. The crime and hospital dramas where once people are dead they become ‘the body’. Silent Witness is the worst. (Great title though.) So many previous friends, acquaintances and work mates of the central characters end up as ‘the body’ on the mortuary slab just days after interactions with the occupants of The Thomas Lyell Centre. What dangerous relationships to have. Only in Midsomer is it necessary to choose one’s friends and acquaintances more carefully. She smiles again. It amazes her that this huge, life-will-never-be-the-same-again, event has happened and she is still able to think of, and be amused by, other things, that she still feels thirsty and hungry, that she still manages to wash and dress and get through her daily chores. Even if at the end of each day she can’t fully remember what she’s done, what’s she’s eaten, what she’s thought.

After deciding on a casket, booking a venue for a post-funeral tea and talking through the ceremony with a celebrant Emily spends a bitter sweet afternoon and evening looking through years of photographs. The children are planning a visual display of some sort at the wake. She’s not quite sure what they’ll do but she’s happy to pick out some of her favourite shots; of Gareth, of Gareth and her, of Gareth and the children and grandchildren. She marvels at how strong and youthful her beloved husband looked until just recently (the later images are on her phone rather than in albums or boxes). It was only in the last few weeks of his six month illness that his muscles had begun to wither and his grip slacken. Tall and long-limbed with a full head of dark hair and a craggy, handsome face Emily had always loved Gareth’s body as well as his mind and his heart. Closing her eyes she is once again in his arms her head tucked underneath his, their legs intertwined. Such an embrace might or might not have led to sex. Either way Emily had always gloried in Gareth’s touch, never not been intoxicated by his scent. Forty-five years of marriage had not dulled their passion, their interest – in and out of the bedroom - in each other. Since his death Emily has slept on her life-partner’s side of the bed clutching one of his old jumpers. But the bed feels different and the smell of him is already fading.

Five weeks later Emily travels the short train distance to the nearest seaside town. She listens to one of Gareth's recordings of Les Miserables during the journey, crying just a little. On her lap is a large bag containing a simple plastic urn. The remains of Gareth’s body are not as heavy as when she collected them from the undertaker. With the family, and the dog, she had scattered half of the ashes in the woodland just ten minutes away from the house they have lived in for the last 32 years. Gareth’s favourite morning walk, they’d taken it together just two days before he died. His strides less confident but still purposeful. His delight in his surroundings undimmed. Today as she looks out to sea Emily’s memory wanders to the many boat trips that started from here. Whilst Gareth fished, she read and bathed in the sun planning the meal they would have with his catch, the wine that might accompany it, and the cuddles and caresses that would likely follow. His body again, she can’t stop thinking of his body. His hand in hers, his sexy smile, his slightly too hairy (for her taste) back. The thoughts are often about the intimacy between them. But also she imagines him throwing one of their grandchildren in the air or frowning over the crossword or hopping round the garage after hitting his thumb with a hammer during a failed DIY attempt. Gareth though is no longer ‘a body’. Gareth no longer has a body. From a man, to ‘the deceased’, to an urn of cremains, Gareth has not bones nor skin, no eyes nor ears. He can no longer walk, wave, shout, kiss. But as she tips the last of the ashes into the sea Emily knows that it matters not as he is, and ever will be, deep within her heart.


  NB: This story will also be published in Letherby, G. (forthcoming)Using fiction, non-fiction and memoir to tell sociological (death) stories’ in Tripathi K and Lamond I (eds) Listening to Death’s Echo: International Critical Autoethnographic Discussions on Death London: Palgrave/Macmillan

 


Sunday 31 March 2024

 



Using Eight Words

Sometimes when I write the words just come and the piece is finished then and there, sometimes I need to mull a little, refine, rewrite, reflect. I started this one whilst in Bath a couple of weeks ago and finish it this morning, the first day of British Summer Time, on a rainy day in Coverack. 


                                                      ***

I’m running a Creative Writing Workshop for Bath Beacon: Sport and Technology in a Digital Age at the University of Bath. I’ve set participants  a writing task: ‘chose eight words from those chosen by others from their piece of free-writing’ (each person had picked out and shared four of the words they wrote during our warm-up exercise). I’ve picked eight too. Thought I’d join in. It was easy to fine a good number that related to some of the main messages from my workshop today. As I’ve already said this morning, writing this way – using memoir, fiction, song lyrics and more – as a way to tell  academic stories challenges the more formal, traditional and still widely expected ways of representation. (Anyone who knows me well knows that I avoid dissemination whenever I can: ‘the scattering of male seed’ indeed). A style that in my view, at least, often does injury to the voices of those involved; respondents and researchers included. How wonderful then that more and more scholars, from across many disciplines, are embracing creativity and thinking differently about how to present data, discussion and debate. Such openness acknowledges and embraces the messiness of the research process, as an embodied, emotional, power-laden experience and not an objective and value-free one. Which is, of course, as true when we communicate to others what it is that we’ve done and what it is that we’ve found, as when we plan the project and collect the data. But ‘what will the reviewers think?’ I anticipate the question even though nobody has asked it.  I tell the story of the one and only time in my career that a journal article reviewer wrote ‘publish it as it is’ after reading my submission; a piece in which I wove some epistemological reflection with short fictional stories and pieces of memoir. I also share my experience of writing memoir and fiction for non-academic audiences and my view that this can make our work more impactful in that such storytelling enables us to more easily share our messages across and between disciplines and besides and beyond the academy. And yet, this way of working is not without risk: ‘nice but not theoretical’, ‘not very academic’, ‘self-indulgent’, ‘over-romanticised’…. I’ve heard it all, been accused of it all, and more. Any yet, and yet, so many more scholars are coming to appreciate the value in, and of, such representations. I’ve written about this before, and I know I will again. For now back to my chosen eight words. I’ve used seven so far – formal, injury, messiness, communicate, reviewers, impactful, risk. So what of the eighth – seagulls – which I just had to include. Oddly enough just this morning on my Facebook page up popped a memory from four years ago:

Visitor to my balcony. Seagulls get such a bad press but I love them and it was us that  drove them inland. I've been thinking all week 'what must the birds be thinking with the  streets so quiet?' (I know, I know). I think they're missing us and not just for the chips they  might pinch.



I shared it again with the words….  One of the seagulls that kept me company through lockdown one. Thinking of this now (and although I very much appreciate the new ways of hybrid working that we’ve been left with since the pandemic forced us to think differently about how to work and socialise) I smile to myself thinking how great it is to be here in person working with such an interesting group of people.


Friday 22 March 2024


Shades of Grey

NB: this piece of memoir contains references to loss, including baby loss. 

I’m sitting in my neighbour’s flat. She lives on the floor below me in our small block of flats. It’s the first time I’ve been inside her home, although we often chat outside in the shared parking area. The décor is not quite to my taste but I like it. There’s been some reconstruction work so the lay-out is a bit different to mine too. The building is over 50 years old so the rooms are somewhat bigger than in some of the newer builds in town. In amongst the sofas, bookcases and coffee tables there’s quite a bit of child paraphernalia including toys and a colourful plastic table and chairs set. I smile and ask after her grandchildren who I sometimes hear when they are staying over. She apologies, as she always does, about the noise they make and I reply, as I always do, with ‘no, don’t apologise, don’t worry, I like to hear them’. I mean it. I do. Another neighbour, newer to the block, who lives above me, and whom I’m already finding more difficult to connect with, asks the inevitable (well so it has been for me) question; ‘do you have any grandchildren Gayle?’.

‘No, no children or grandchildren.’

Oh a nice easy life then.’

My mood dips as my stomach clenches, my world turning pale grey. Not the blackness of despair which I once felt, nor the bright flashing red of angry for, for sure, I’m used to such comments by now. The assumption that I will have followed the expected maternal path and the insensitive – through embarrassment or just a lack of real interest or care – throw away retort when I name my status, or rather the lack of it.

‘Well it wasn’t my choice,’ I reply, ‘but I’m lucky to have many children and young people in my life’.

The conversation moves on. We are gathered to discuss some work that needs doing on the property we share. My mind wanders. I’m thinking of a quote from Hilary Mantel’s memoir Giving Up the Ghost (published in 2004 by Harper Collins publishers) which I first saw when it was shared on twitter just after her death in late September in 2022:

You think of the children you might have had but didn’t. When the midwife says, ‘It’s a boy’, where does the girl go? When you think you’re pregnant, and you’re not, what happens to the child that has already formed in your mind? You keep it filed in a drawer of your consciousness, like a short story that never worked after the opening lines.

***

I began this piece during a writing workshop organised by the Centre for Death and Society (#CDASWriting). Our theme was ‘narratives of loss’ and our first writing prompt was ‘what colour does this morning feel like to you?’ Still uneasy following the interaction in my neighbour’s flat I chose ‘pale grey’ as my colour. Yet grey is an ambivalent, not solely negative, colour for me. I love my smart grey trousers and the several same colour comfy, soft to the touch, jumpers I wear through autumn to spring. I chose to have two grey walls and a grey carpet in a living room otherwise full of colour. So although ‘pale grey’ seemed to fit well my, on the verge of sombre, mood (and the weather) I choose it also for its' (for me at least) association with warmth and the comfort of home.

Shortly after the house meeting I posted a brief outline of the unsettling exchange on Facebook and received many supportive and empathetic comments. The most touching being; ‘Easy life, nah, you’ve got all of us’ accompanied by a photograph which includes the friend who posted the comment, her two young children, her brother and his husband, her mum (my oldest friend) and dad and me. The picture was taken at a day out at a local sculpture park earlier this year. The sun is shining. We’re all smiling as the selfie is taken. I remember a good day. There was a picnic and other fun too. I was with people I love, who love me; the group including some of the most significant children and young people in my life. This memory leads me to reflect on others, of other days, other happy times. When writing of loss and of grief my mum, Dorothy, (my dad, my baby and my husband too but especially my mum), is never far from my mind. My wonderful, funny, clever, ferociously protective mother who always put me first and foremost, who loved me unconditionally and who supported me through so many other losses (my dad, my baby, my husband and more).  The day after the #CDASWriting workshop, whilst doing 10 minutes or so on the exercise bike ‘temptingly’! placed in the corner of my living room, the second track from Kirsty McCall (the artist I’d chosen to encourage me on my ride) comes on; ‘Thank You For The Days’. I cried listening to this at my mum’s funeral and as my legs continued to circle round and round I lifted my hand to brush away my most recent tears for my most beloved. The memories on this occasion were mostly happy though; the many wonderful times we had together, the laughter we shared, her smile and her gentle touch. Grief, such a funny, complex thing.

The final exercise of the writing workshop was to write a piece to challenge a dominant narrative, an expectation of behaviour, feeling, thought. I returned again to my own personal maternal identity and experience:

 

People say ‘never mind, it’s for the best. It will happen next time, next time, when the time is right'.

 

But there never was a next time, a right time.

 

It did NOT happen ever again.

it did NOT happen ever again

It did NOT happen ever again.

 

It began with an actual loss. A baby. Just a foetus to some but a baby to me. A baby who died before it had the chance to be born.

And then a loss of possibilities.

No more pregnancies (or at least not that I know of).

No more babies, children, grandchildren.

 

Childless I am not.

There have always been, and are, plenty of children and young people in both my personal life and my work life.

But, the loss, the losses, I feel acutely still, more than three and a half decades on since my baby died.

I’m reminded everyday by a family tableau in a café, a TV drama, a careless comment…  

 

I feel the loss, I carry it huddled in a corner within me.

Waiting, always, waiting to remind me of what might have been.

I talk about my loss(es) when asked and share my experience in the hope that in some small ways I might raise awareness in the less than empathetic and connect with others who have been through similar.

And yet the word never feels quite right.

If I accept that I ‘lost’ my baby, aren’t I admitting to failure? To a lack of care, to not preventing an event that could have been prevented?

A worry underscored by the fact that the time never was right.

 

People say ‘never mind, it’s for the best. It will happen next time, next time, when the time is right'.

 

But there never was a next time, a right time.

 

It did NOT happen ever again.

 

A book I read years ago comes to mind. Not so much the words within the cover but the cover itself. A couple holding a baby between them, BUT NOT, as the space where the baby should have been was blank. Like a jigsaw puzzle with a few missing pieces.

 

My life is full, enriched, happy. And yet my own personal jigsaw (like, for various reasons, those of many others) will always be incomplete.

Saturday 16 March 2024

Sunny Side Up

 

Sunny Side Up: I wrote this piece in response to an exercise I set participants during the creative writing session I facilitated as part of the 'Reengaging the Body Symposia/Workshop' organised by the boomerang.project.org.uk

Symposia/Workshop: Reengaging the body – boomerang-project.org.uk in May 2023

 

Conscious of keeping time and ensuring everyone is comfortable in what they are doing I don’t always join in the writing exercises (at least at the time). On this occasion I did.

 




Sunny Side Up 

I adore eggs, cooked every and all ways. They are absolutely on my desert island foodstuff list. The ultimate comfort food has got to be a scrambled egg buttie (or maybe ‘sandwich’ if you’re not from Liverpool); white bread, the eggs not too runny, nor too hard and bouncy, so they melt in to the butter making a messy but delicious and happy meal. I recall an afternoon 25 or more years ago when after what I had guessed would be a difficult work meeting my late husband John came into the hall to meet me as I returned home.

‘How did it go?’, he asked before I was even properly inside the house, my key still in the door.

Saying nothing I held up my hands; a loaf in one, six eggs in the other.

‘Ahh, as you expected then’, he said before taking the ingredients from me to carefully prepare some sympathy on a plate.

***

The day starts grey and wet but later the sun comes out and it feels like everyone’s mood, already good, lifts a little more.  In the writing workshop I’m leading as part of a weekend focusing on re-engaging the body I’m encouraging those I’m working with to think about what colour the day feels like to them. I ask participants to concentrate on the memories and emotions the colour evokes, what senses it stimulates and more. It’s an exercise I’ve done before in workshops led by others but this is the first time I’ve included it in an event I’ve facilitated. We start with a spider diagram of thoughts which leads onto a story, poem, piece of memoir, or anything else that people feel like writing. I’ve brought coloured pencils and felt-tip pens for the first part of the exercise and everyone seems to be enjoying using them.  

As we begin, and without much thought, I see, and feel, a warming yellow. Images of the sun and of sunflowers, of a pretty bedspread I bought for my mum for her 60th birthday, even a yellow submarine (there’s that Liverpool connection again) drift in and out of my mind. Next I’m remembering the discussion about eggs I had with a fellow participant, and newish friend, at breakfast. She’s over from the U.S., well into her three and a half week stay, and we are sharing our delight at the quality of the scrambled eggs, which are unusually good for a buffet breakfast; creamy and delicious and so beautifully yellow. My friend tells  me how impressed she has been with the food this trip, the eggs – scrambled, sunny-side-up and poached - being a particular unexpected treat.

In our afternoon workshop as I’m reflecting on the pleasure of the morning’s eggs I remember too how my dad, Ron, used to prepare boiled ones for eating; a practice I follow. Tap, tap, tapping the egg gently with his teaspoon, dad would  painstakingly remove each piece of shell from more than a third of the egg. He’d work from the top down, checking that all the outer covering was gone before digging his spoon into the egg-white, allowing the wonderful bright and beautiful yoke to drip and be mopped up by toasted bread. There are of course two types of people when it comes to boiled eggs. The tappers and diggers like my dad and me and the slice off the toppers of which my mum, Dorothy, was one. Her practice, like mine, following her father’s. My mum’s grew up in a poor household. My grandfather was a builder and when there was no work there was no pay. Sharing a bed with one of her sisters, in winter my mum, and my Auntie Blanche, slept under coats as well as one thin blanket and without the Salvation Army, my mum told me, often they would not have eaten at all. Every Sunday (money, or the Sally Army, permitting) my maternal grandfather would have a boiled egg for his breakfast and once a month (there being four girl children in total) it would be my mum’s turn to receive and eat the top slice.

Despite their egg differences my parents were very happy together. I’ve written before about our small (just the three of us) family life; often lean in terms of income and material goods, but always rich in love. One of my many happy memories is of how at Easter my dad would draw funny faces on all of our boiled eggs before we tapped and dipped or sliced in order to reveal the glorious golden protein within. My oldest friend, who knew both of my parents well, sometimes still boils and decorates me an egg or two on Easter Sunday. Family – by birth and/or by choice – and good food (particularly when it’s yellow); what a combination.

Sunday 18 February 2024

Reflections from an (Academic) Writing Retreat

I wrote this piece in April 2023

That there are truths to be found in stories is inarguable. Similarly, there is always an element of interpretation in research, and every written text is a product or particular social, political, technical, economic and personal events’ (Katherine Frank, 2000: 484).  


As I begin this piece I’m in the middle of doing one of my favourite things; facilitating an academic writing retreat. We’re in an interesting location at the top end of a small Devon market town known for its alternativeness. The building was once a fish and chip shop. Now it belongs to the adjacent hotel that we ate and slept in last night. It’s an unusual space, the one we’ve working in that is, with an old shop size fryer in the corner and wooden tables with comfy enough oddly matched chairs. There’s an old, enamel sink too and an open wall cupboard containing water jugs, metal cups and a pretty bowl or two.  Everyone is busy writing, the keyboard tappings accompanied by the hum from the two big fridges in the corner. The chaps in the shop next door are clearly up to some renovation that’s causing them not a little bother. The walls are thinnish and now and then we hear a swear word or three. The windows are large and we attract quite a few curious glances from passers-by. Occasionally we are interrupted by someone who has not read the sign on the door informing shoppers that the usual Thursday am bakery sale is being held in the hotel bar this week. We’re on the second morning of our two full days, the 12 other writers and me. There is a mixture of intensive writing time and exercises including free writing, writing to prompts and editing. The focus of everyone’s work is scholarly but the group is multi-disciplinary and the methods and methodologies embrace arts-based approaches as well as more traditional social scientific ones.

As academics you think we’d all have lots of time for writing, but what with ever-growing teaching, admin and pastoral roles and tasks even grabbing an hour or two to work on something creative is often hard going. When working at the weekend my mum always used to ask ‘are you doing your work, or work, work?’ ‘Your/my’ work being working on my PhD or later an article or a book chapter and ‘work, work’ being lecture or seminar preparation. I came to higher education late, as a non-standard entrant at 28, having spent eight years training and working as a nursery nurse and two years drifting in and out of a few administrative jobs. It was a miscarriage at 16 weeks of my, to my knowledge, one and only pregnancy, one and only baby, that ended my nursery nursing career. Spending so much time with other people’s children was too painful for me whilst I waited (in vain) to get pregnant again. But it was during those two distressing years that I discovered, what was to be a lifetime love. To fill an evening, and in an attempt to find something else, other than my reproductive failures, to occupy my mind, I began an evening class in sociology and the rest, well the rest is the rest… Right from the beginning I was interested and, more often than not, captivated by the research and reflections, the concepts and theories. The political focus of the discipline, the concern with trying to make the world a better place, also drew me in. Probably not surprisingly I have spent a considerable amount of my own research and academic writing time over the last 30 plus years focusing on those who do and do not mother (parent) and the associated differences and similarities in these identities. Non/motherhood (parenthood) is a status and an experience that I, and many others, believe to often be misunderstood and misrepresented. I feel most privileged to have been able to spend so much (paid) time researching, reflecting and writing about something so important to so many.  Alongside this (and a host of other substantive interests including working and learning in higher education, travel and transport, loss and bereavement, food and other poverties, solitude, and more) I have always been interested in the process as well as the product of research, that is the relationship between what we do and what we get. So when teaching and supervising I always emphasis the essential relationship between clear and articulate methodological discussion and accountable knowledge (Letherby 2003). For me, and indeed, I argue, for all researchers, part of the process is, or should be, acknowledging the significance of my own/one’s own auto/biographical presence. The / in auto/biography indicating that when we write about the self, echoes of others are always present and when we represent the lives of others our beliefs, values and experiences are at the very least implicitly extant also.

As a nursery nurse one of my main tasks was encouraging children to learn through play, often (very) messy play. In an interesting parallel I have always thought of the research process as wonderfully messy, never tidy and hygienic as many methodological texts in the past insisted. Thus, I always encourage those I teach to ‘play with’ their data in order to get the best out of it. Because of this I find it somewhat ironic that it was two decades into my academic career before I began to think more creatively about how to present – play with - sociological ideas (including research data). Of course it’s essential (not least for credibility and promotion) to impress one’s peers in the academic world. So research reports, articles, monographs and the like are all important within the day job. But, there are different ways to tell sociological stories and just as social scientists have begun to engage more with arts-based methods with reference to the collection of data, so too have we in terms of presentation. I first began writing fiction and memoir following the death of my husband John in 2010, and even more so after my mum, Dorothy, died in 2012. At the beginning the activity was purely therapeutic, part of my early grieving process. A way of working out my thoughts and feelings. I shared some of my writings with friends and was supported and encouraged to write more. Soon I began to include such writings within my academic work, moving back and forth from the personal to the methodological and the theoretical (see Letherby 2015 for an example), and I began to reflect on how my sociologically informed story-telling might extend beyond the academy.

When I think about my motivation to write (and to research) I’m reminded of my favourite ‘Mummy, Mummy’ joke:

     ‘Mummy, mummy, there’s a man at the door with a bill.’

     ‘Don’t be silly darling, it’s a duck with a hat on.’

Basically, things are not always what they seem, and it is important to highlight this, whenever, however and wherever we can. Working creatively with sociological ideas and research findings, including auto/biographical ones, both within and outside of the academy, is, for me at least, in part an attempt to make an impact; however small. In 2017 I posted a short piece of fiction on ABCtales.com called ‘Poppy’  Poppy | ABCtales It’s a story about poverty and homelessness and a critique of traditional views of patriotism, told from the perspective of a child. To date 14,204 people have read it on the ABCtales site; my most read piece here. I’ve also included the story in an academic publication (Letherby 2022) and in a number of presentations and lectures. The positive comments I continue to receive about ‘Poppy’ reassures me of the significance of this kind of writing.

Back to where I started; the writing retreat. I am very fortunate to have now been asked a number of times to run (on my own or with others) both creative writing for academics and activists events’ and academic writing retreats (which always include a creative exercise or two, three…). I’ve also attended a number of retreats as a participant and enjoyed them all. How wonderful to work with other people on something oneself finds so enriching and emotionally fulfilling. At all the events that I’ve facilitated at least a few people have spoken about their anxiety, about their ‘lack of creativity’, but invariably by the end of the session they are pleased, if sometimes still a little shy, about what they have written. Tham Khai Meng (2016) feels relevant here:

‘Everyone is born creative, but… it is educated out of us at school… Sure, there are classes called writing and art, but what’s really being taught is conformity.

Young children fizz with ideas. But the moment they go to school, they begin to lose the freedom to explore, take risks and experiment. 

             We spend our childhoods being taught the artificial skill of passing exams…

We spend our days in meetings and talk about “thinking outside the box”. But rarely do we step outside it.’

My dad, Ron, was a writer of stories, both fiction and memoir. A blue-collar worker (industrial diamond polisher, hotel porter, toilet-roll factory worker, bank-messenger, fish-fryer) all his life, he wrote, and had published several short stories in the 1960s and early 1970s. Re-reading them now I can pick out the connections to our own family life and see the blurring of fact and fiction in his writings. As a younger adult I enjoyed my dad’s stories and admired this way of working. Until relatively recently though I believed it was not something that I could do. Now I know different, for we can all do it, if we wish to. We are all, can all be, creative if given the time and the space and support and encouragement. What we produce may not meet the approval, satisfy the taste of all, but whether we write (paint, sculpt, sing, act…) for ourselves or for others, it is all, I believe, of great value and significance, emotionally, socially, politically.

During my nursery nurse training I remember one session where we were being given instruction on how to encourage creativity in children.

 ‘When talking to a child about a painting or a drawing’, the tutor said, ‘don’t ask “what is it?”, rather say “tell me about it”.’

I’ve never forgotten this advice and with respect to my own, and others, attempts at telling stories in different ways ‘tell me about it’, feels an ideal starter to opening up discussion and encouraging more creative possibilities.

 

References

Frank K. (2000) ‘”The Management of Hunger”: Using Fiction in Writing Anthropology’ Qualitative Inquiry 6(4)

Letherby, G. (2003) Feminist Research in Theory and Practice Buckingham: Open University

Letherby, G. (2015) ‘Bathwater, Babies and Other Losses: A Personal and Academic Story’ MortalityPromoting the interdisciplinary study of death and dying 20:2

Letherby, G. (2022) ‘Thirty Years and Counting: An-other auto/biographical story; Auto/Biography Review Thirty Years and Counting | Auto/Biography Review (autobiographyreview.com)(link is external)

Meng, T. K. ‘Everyone is born creative, but it is educated out of us at school’  Everyone is born creative, but it is educated out of us at school | (link is external)Tham(link is external) Khai(link is external) Meng | The Guardian

Wednesday 6 May 2020

Jeremy Corbyn made my hair fall out: some reflections on P/political loss


OK, so I’ve got your attention.


More on hair later (it’s a fairly long read…).

For now some reflection on the last few months. My twitter feed @gletherby and Facebook account is full of grief and anger and has been since the middle of December 2019.  The general election result; Brexit; the Coronavirus pandemic; the leak of a report that, if true, means that senior figures in UK Labour not only worked against the Party during the 2017 general election but also regularly engaged in racist, sexist and violence based ‘banter; whilst talking about Labour MPs, activists and pro-Jeremy Corbyn members; have distressed and enraged many of us.   

Corbyn’s decision and announcement to step down as leader of Labour led me, and I know many others, to experience real grief. Grief for the loss of a government truly focused on equality, social justice, the sustainability of the planet, peace... On April 4th 2020 when Keir Starmer changed his twitter bio to ‘Leader of the Labour Party’ the felt pain of what might have been was palpable (more on Labour under Starmer another day).

Not wishing to boast I’d suggest that I’m something of an expert on grief. My adult life has been peppered by experiences that following Michael Bury (1982: 169) we might call ‘biographical disruption’: when ‘the structures of everyday life and the forms of knowledge which underpin them’ are disrupted, if only for a time. My father Ron died when I was 20 years old, I miscarried my only (to my knowledge) biological child in my mid-twenties and was divorced from my first husband in my early thirties. My relationship with my second husband John was happy but hard work given his many years of illness. When John died more than a decade ago (February 2010) when I was in my very early fifties he was estranged from his two sons who remain estranged (their choice) from me, even though John had sole custody and they lived with and were cared for by the two of us during their teenage years and into early adulthood. In January 2012 the person who was my main support and source of comfort throughout all of these experiences – my mum, Dorothy – died. In addition, other extended family members and close friends have died over the years and, along with others, I grieve at the tragic and unnecessary deaths of those I have never met; in recent years Grenfell is relevant here in addition to the current Coronavirus pandemic. (I have written about some of these issues elsewhere (e.g. Letherby 2015, Brennan and Letherby 2017, and http://arwenackcerebrals.blogspot.com/2018/04/84-men-millicent-mary-jesus-and.htmll )

In the mid-1980s feeling unable to continue my job as a nursery nurse following my miscarriage I looked for something to fill my time with an A' Level in Sociology helping to do this. Some of my research and writing in the 34 years since has focused on issues of death and loss (as relevant to death and more generally). Like others I have argued that bereavement, the overall experience of grief, is multidimensional and embodied as it is a personal, social, political, intellectual, emotional and bodily experience (e.g. Tanner, 2006; Gudmundsdottir, 2009, Letherby 2015, Davidson and Letherby 2020). My own experience of bereavement has brought home to me the impact that such loss can have on one’s body. I have heard grief described as being like a punch in the stomach or a series of waves washing over a person. I can relate to each of these examples but for me grief is more like walking up a steep hill, it is hard going and the pinnacle seems far way: the walk is tough. Sometimes you slip back, sometimes you need to rest, sometimes you feel sure you’ll make it to the top, sometimes you are convinced you never will.

‘Griefwork’ is a sociological concept developed by Deborah Davidson (e.g. see Davidson 2008) where the work of grieving is shared and negotiated between and among grieving persons and supportive others, rather than the work done alone as in grief work, a psychological concept. This is relevant, I think, to the political losses of the last few months as like-minded others have come together – both face-to-face and online (increasingly so in the last month or so) - to share feelings, reflect and regroup. This has led to a raft of blog articles, articles in Left leaning publications (mostly, but not exclusively in what’s known as alternative media), events (many online), grass-roots activism and action. The latter includes projects specifically to address the ravages of political austerity and others focusing on political education. Following the general election loss and the increasing marginalisation of a socialist agenda in Labour such activity is helpful. Emotions are still raw though and we haven't (and still don't) always agree in our analyses of what went wrong and what we should do next.                                                    




In January I wrote (in 18 tweets): 

@gletherby (28/01/20) I was in London the day after #GE19 and spent much of it in tears, even whilst wandering round the shops, in a failing attempt to distract myself from the horror of it all. Like many I am experiencing the aftermath of Labour’s, of OUR, defeat as a bereavement. I didn’t think it could get any worse. It has. This morning I was blocked (here on Twitter) by someone I’ve been following & who has been following me for several years. A fellow socialist. Like others I expected the bigots to be emboldened by the election result. They have been. Like others I expected the attacks on Corbyn & his supporters to increase. They have. What I didn’t expect was the cross words we would have with each other about who to blame for the suffering that so many are experiencing under the hateful Tory govt.

On Saturday I tweeted about my distress at the number (growing I think) of attacks on working class Tory voters. It prompted much debate. Some folk agreed with me, others justified their different view. I must admit to being a tad bruised by some (a minority) of responses. But basically it’s fine. We need to debate to move forward, to do better, to win. So, although some might think me foolish to continue & some will still disagree I have to carry on, not least because I feel sick when I see folk describe their neighbours as ’selfish class traitors’ who ‘deserve all they f*cking get’. Just a few reasons why:

- In fact only 3 out of 10 W/C voters voted Tory, despite what the MSM tells us (although I accept others stayed away from the ballot box).

 - 19 our of 20 constituencies where child poverty is the highest are STILL represented by Labour MPs.

- The mainstream media have championed a propaganda war against Corbyn since 2015 & a report by Loughborough Uni shows how that was massively ramped up in Nov/Dec 2019. It was not just the words spoken and written but other, not so subtle to the informed, but influential to the less politically aware, tactics. One example: Remember that tweet by Robert Peston LIKE for ‘Boris’, RETWEET for ‘Corbyn’ (frowning & complete with ‘Commie’ hat), COMMENT for ‘Jo’. Ummmm.

From all this and more, much more, it’s clear that many, many people, really did not know who/what they were voting for: ‘Boris good, Corbyn bad’ (the complete opposite of what we know to be true) was the dominant message.



- The CONS cheated on social media with dark adds on Facebook and, not least, by changing their twitter account to a (false) ‘fact checker’ during leadership debates.

- Johnson’s soundbite ‘Get Brexit Done’, although a falsehood, was simple & effective, not least because LAB’s message was unclear to some (partly the media’s fault, partly the fault of some of our own MPs, including some in the Shadow Cabinet) & unpalatable to many who felt that we had back-tracked on a previous pledge (again PLP & some shad cab members were complicit).

- The Labour vote in ‘left behind communities’ has been dropping for decades:  #GE17 was the blip.

- Johnson was able to build on his image as a ‘lovable buffoon’ (I know) and the lack of scrutiny, hiding in fridges, his horrific views etc. added to the view of him as a maverick, as ‘Boris’ not Johnson.

ADD to ALL this a couple more points:

-Surely if we blame those that are largely powerless, even if they do have views we disagree with, deplore even, aren’t we playing into the hands of the powerful, the establishment, the media, the wealthy Tory Party donors, Johnson himself…?

- Given that as Corbyn supporters we support his view of the need to ‘defend the principles of a society that cares for everyone & everyone cares for everyone else’ isn’t it our responsibility to take the lead on this; to fight for equality and social justice for all, ALL? We can be sure that if we don’t, nobody else will.

- AND finally (for now) if we attack people how can we hope that they will listen, re/consider, vote Labour ever again?

I for one am very excited about the recent reports that Jeremy Corbyn is making plans on how to continue his work on tackling inequality, working for peace & for the stability of our planet. I’ve also heard that he is concerned to develop effective political education which we so need. I think, hope, we can all be part of this; as learners and as teachers, and learners again. For that to work though we need to keep talking, sharing, struggling together…

                                                                   ***

Whatever our position, our leanings, our preferences, though I think it’s fair to say that the last few months, and indeed the last few years, have been bruising. As someone once said ‘They don’t call it the struggle for nothing’. So, when my hair began to fall out (‘at last she gets to hair’ I imagine you thinking) at an alarming rate in the summer of 2019 I could only nod when my GP asked if I’d ‘been under any stress’ and given that Jeremy Corbyn gets blamed for everything …. (I don’t blame him obviously but I couldn’t resist the title). I did the things that she, my hairdresser, and the internet suggested: ate (more) bananas and eggs, changed my shampoo, grew out the dye (I like the grey), took an extra supplement or two and tried not to worry about it too much. Things seemed to settle down. And then came the Coronavirus pandemic and lockdown. I’ve been home alone for five weeks now). I have plenty to do (fortunately I can work at home and there’s always other writing, and books to read, and Netflix and spring cleaning…) but my motivation wanes quite often. I volunteer and although I am still able to assist the organisation from a distance self-isolating means I can not do as much as I usually do and this upsets me. I have lots of support and virtual company but I’m a tactile person and I miss hugs the most. At the weekend I went out for a walk, the first for a couple of weeks and, very unusually for me, I felt anxious the whole time. Since then I’ve been out every day and feel a little better for it. So, despite having plenty to do, people to talk to, and the sea to visit (I do appreciate how lucky I am) like many others I’m finding self-isolation challenging at times.  Perhaps not surprisingly then, I’ve started to shed hair again and this time it’s accompanied by the eczema I occasionally suffered from when younger. 

Having grown up in a loving but, at times financially lean, family I do acknowledge and I am grateful for, my privilege; my comfy home, my full food cupboards and more…. But, from my own experience and those of others not so well off (in some or all ways) at times of political and social change, upset, crisis, I would strongly suggest that it is OK NOT TO BE OK. One of the most upsetting, and, I think, irresponsible, trends during #Lockdown has been the ‘If you haven’t…’ statements. You know the sort:

‘If you haven’t learnt a new language / acquired more knowledge / got fitter / honed the skill that’s always alluded you … during #lockdown it wasn’t that you didn’t have the time, it's that you didn't have the motivation.’

With this in mind I’ve written a poem.

Now’s a good time

Now's a good a time to learn to touch my toes,
Now's a good time to strike a new pose.
Now's a good time to learn to bake and sew and drill and saw,
Now's a good a time to clean out the cupboards or empty a drawer.

From home-schooling to zooming,
Hair-cuts and self-grooming.
Some learning new languages others writing books,
There’s lists of achievements wherever one looks.

But, if just getting by is all you can do,
Get up, eat a meal, watch a programme or two.
Do what you can to cope with this time,
Do what you must; that’s your quest and mine.

***

That’s it, for now. 

Thanks for reading.

Stay as safe as you can.

#Solidarity


References

Brennan, M. and Letherby, G. (2017) ‘Auto/Biographical Approaches to Researching Death and Bereavement: connections, continuums, contrasts’ for Morality: Promoting the interdisciplinary study of death and dying 22(2)

Bury, M. (1982) ‘Chronic Illness as Biographical Disruption’ Sociology of Health and Illness 13(45)

Davidson, D. (2008). A Technology of care: Caregiver response to perinatal loss. Women’s Studies International Forum, 31(4)

Davidson, D. and Letherby, G. (2020) ‘Reflections on a Collaborative, Creative ‘Working’ Relationship’ in Parsons, J. and Chappell, A.  (eds.) The Palgrave Handbook of Auto/Biography (Auto/Biographical Creativity and Collaboration, Section Editor Letherby, G.) London: Palgrave

Gudmundsdottir, M. (2009). Embodied grief: bereaved parents’ narratives of their suffering body. Omega 59(3)

Letherby, G. (2015) ‘Bathwater, Babies and Other Losses: A Personal and Academic Story’ Mortality: Promoting the interdisciplinary study of death and dying 20:2

Tanner, L. E. (2006). Lost bodies: Inhabiting the borders of life and death. New York: Cornell University.