Un Être en Vertige

L’être voué à l’eau est un être en vertige. Il meurt à chaque minute, sans cesse quelque chose de sa substance s’écoule. La mort quotidienne n’est pas la mort exubérante du feu qui perce le ciel de ses flèches ; la mort quotidienne est la mort de l’eau. L’eau coule toujours, l’eau tombe toujours, elle finit toujours en sa mort horizontale. […] la mort de l’eau est plus songeuse que la mort de la terre : la peine de l’eau est infinie. […] 

Gaston Bachelard, L’Eau et les rêves, Essai sur l’Imagination de la Matière.
John William Waterhouse, Circe Invidiosa, 1892

The mercurial and the caring

In reality the bat is shy and gentle, fastidiously groomed and a tidy housekeeper (Ackerman, 4ff). Particularly in Asia, the bat represents the maternal aspect of the great goddess. The attunement of a mother bat and her baby is such that they can instantly recognize each other’s high-pitched squeak in a nursery cave of millions and be reunited. […]

Alchemy sometimes depicted the mercurial spirit of the unconscious with bat wings. It is a way of conveying not only psyche’s darkness, mystery and ambivalence, but also its provision and unforeseen agency, the way it can lead consciousness into spheres requiring a different kind of orientation and in which can be found the fructifying unconventionality of nature.

“The Bat”, in: The Book of Symbols: Reflections on Archetypal Images, ed. A. Ronnberg, K. Martin


Seventeen – A Year of the Artist’s Tears

A Word-Doodle for Eight.


You are a writer and you feel sad: you’re not an artist. You’re useless at wielding paints or plasters or colours. In general, you are prone to tears; in German, they say you’ve build your home close to water, which makes sense, which atones in some way for the guilt you feel for crying so often, and so abundantly. It must simply be where your bodily home was built – a matter of infrastructure reacting to environment.

Past boyfriends –the ones who were aspiring artists and academics– have told you that crying is useless: a waste of minerals, and the quickest way to drive someone out of your home, our of your life.

In a single month, you use up around three boxes of tissues, family-sized. Your eyes have a permanent pink rim; although blue, your irises begin to look green in the mirror. It’s basic colour theory.

The things that make you cry are manifold, but mostly you cry about the sound of yourself, about things that seem poignant leaving your mouth, your own voice revealing things about what feels like your true self. Anything that sounds like a key to your fundamental self, no matter how straightforward, has the power to make you weep.
Or anything about children reconnecting with their parents.

So you are a writer, and you wish you were an artist because the things you are not always seem easier, more rewarding. Being an artist looks to you like a way to express yourself more fully, more directly, without having to trip over language, this loaded thing. But the thing is: you have stuck with language and learned to express yourself in this medium, not another. And it might not matter, because there is another problem: you don’t feel worthy, worthy of ease and reward, worthy of attention or respect. Long story short, what do you do? You cry.

I’m not an artist, you sob into your tissue. I can’t come up with anything that feels or looks like art.

You forget to think that this might be something many others sob about. It might be the main propellant behind many other ounces of snot and fluid. You didn’t go to art school, so you focus on this as a regret. Not going to art school, as we all know, bars you for life from producing anything not the art world won’t laugh out of the room at first sight.

Even writing now feels like a foreign language, which, you suppose, it is.

When you cry, it’s all about what you’re supposed to do, what is right and what is wrong. Because those concepts are confusing and never lead to happiness, you cry.

You get your box of tissues and you fill each sheet with snot and wipe your stupid tears and you sit there feeling sorry for yourself until it feels like something has been lifted, like an idiotic valve has opened to release the pressure, and you crumple up the three-four-five tissues you’ve used, some wet with snot to the outer edges, some dryer as the phlegm ceases to come out, and you line them all up in front of you, little white nests sheltering your body fluids, the ones we link to sadness.

You’re done crying but you don’t throw the tissues away.

You put them aside, in a drawer; the next day you feel bad about yourself again –something, something, always something– and you cry and empty the contents of your empty knee-jerk sadness into a tissue again, and this becomes a kind of ritual.

You begin to milk the fluids of sadness from your body every day, as a kind of hygiene. Something healthy, you tell yourself, like Medievals covering themselves in leeches once in a while to clear the blood. Except this is like Medievals collecting the leeches in small jars afterwards, leeches filled with their ‘bad blood’, so as to hold on to what was removed from them; it is like someone collecting their nail clippings to remind themselves of this process of mindless growth that will continue until a few days after their death.

You collect your snot-filled paper tissues, wondering sometimes if this is just a less upsetting version of collecting your discarded bodily tissues –like skin flakes, hair, nails– and at the end of the year you line them all up on a large wooden plank in a warehouse somewhere. You don’t remember the specifics of how you got access to this warehouse, or behind which dumpster you found the plank, or why the walls are white and wide enough to encompass large crowds; you simply line up your tissues on the large wooden plank –roughly 10m long, 2m wide– and an assistant hangs a little plaque on the wall with your name and a title:

A Year of the Artist’s Tears.



Like a lot of people who write I own way too many notebooks. I have to stop myself from starting more than I can handle. At the moment, I have three on the go, which is a lot, but I tell myself that they are all for different forms of writing, or rather, for different methods and moods of writing.


One of them is my personal diary in which I record (with less and less gusto, recently) my gripes and complaints about the world, my insecurities, the moments when paranoid thoughts get the best of me. Continue reading